Violin notes 2014-15

Violin notes for ABRSM Grades 1 to 8

2014 –15

Helena Ruinard, Brigid Kirkland-Wilson and Jessica O’Leary

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CONTENTS

CONTENTS 4 10 14 19 24

Welcome …

BEHIND THE EXAMINER’S DESK GRADE 1 29 GRADE 5 GRADE 2 35 GRADE 6 GRADE 3 40 GRADE 7 GRADE 4 46 GRADE 8

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… to Music Teacher’s guide to the full ABRSM violin syllabus, containing notes for every piece that students can choose to perform in exams up until the end of 2015.

These notes, written by practising teachers, are intended to sit alongside the wealth of resources available at www.abrsm.org, but represent the views of each teacher themselves.

Jessica O’Leary, who has written on Grades 6 to 8, has also penned an article (see page 4) sharing the ways in which her work as an ABRSM examiner and moderator has informed the way she teaches.

We hope that the commentaries in the following pages will help you choose the pieces that best fit your students and give you plenty to think about when preparing them. Here are our writers: Helena Ruinard (Grades 1 to 3) Helena is Music Teacher magazine’s violin correspondent. She studied at Cambridge and the Royal College of Music and currently teaches privately and at a school in central London.

Training with Spitalfields Festival, Tower Hamlets Arts and Music Education Service, the British Kodály Academy and the ABRSM has influenced her teaching, together with the approaches of Paul Harris, Sheila Nelson and Kay Tucker, among others.

A regular contributor to Music Teacher magazine, she has also authored Restart Violin for Music Sales publishers. Alongside education work, Helena has developed a busy freelance performing career, including regular appearances with Bournemouth Symphony Orchestra, the City of London Sinfonia, the Ulster Orchestra and as guest co-principle of Sinfonia Viva.

Brigid Kirkland-Wilson (Grades 4 and 5) Brigid is a freelance violinist, on both standard and baroque violin. She teaches at Wells Cathedral School, Cheltenham Ladies College and The Royal College of Music’s Junior Department. She examines both in the UK and abroad, and runs an Easter course for young string players in Dorset, where English music of the past and present day are studied, and enjoyed.

Jessica O’Leary (Grades 6 to 8) As a performer, Jessica toured internationally and recorded extensively the Academy of St Martin in the Fields and the Orchestra of St. John’s. She is the violin moderator for the 2016–19 ABRSM syllabus.

Her recent Best of Violin grade books are published

by Faber and are available on an innovative new music education iPad app (KR Player) for which she is a consultant. She teaches violin and viola and directs string ensembles at Eltham College, St Paul’s Girls’ School and Junior Guildhall School of Music & Drama, London.

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ABRSM Violin Notes 2014–15

Behind the examiner’s desk 4

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When I became an examiner my teaching improved as a result as I realised several things – not least the facts that, firstly, examiners do not mark technique, they mark the musical outcome, and secondly, students start from a pass mark and (hopefully) gain marks en route.

ABRSM violin moderator Jessica O’Leary gives an insight into what examiners are looking for

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Preparing your student It’s OK to change bowings and fingerings to suit individual needs. In fact no marks will be deducted if the integrity of the music is enhanced and the style is convincing. Usually, a more personalised account makes the music flow better and students are less worried about ‘getting it right’. Occasionally, it’s better to sacrifice a detail if it helps the overall flow.

The style and idiom are crucial and errors will be less obvious if the musical elements are clear. You might like to consider limiting vibrato in Baroque pieces, having mostly inaudible shifts in Classical ones and adding slides to the jazzy ones.

Open strings in the early grades are preferable to mistuned 4th fingers, but open Es can be strident, so they need a lighter bow stroke. Harmonics can often solve a technical issue too, while applying a little fresh rosin the day before an exam and cleaning the instrument’s strings can help hugely.

Each section of the exam is marked separately, so one brilliant piece will not compensate for a lack of minor scales, for example. Students should refocus on the next part after errors and never give up!

Even ‘attempting’ sight-reading will lead to some marks being awarded and that might make all the difference to the candidate’s overall grade.

In pieces, it’s good to add extensive dynamics and shaping as marks will increase as the music becomes more expressive.

Tonal variety is usually the first thing to disappear under MUSICTEACHER

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ABRSM Violin Notes 2014–15

pressure, so it’s also advisable to check that the music is full of shaping and contrasts well in advance. If dynamics are only added in the final lesson, they will not survive on the day!

Students tend to play exactly what is written on their music when under pressure, so if a bowing or fingering has changed, it’s best to write it in. They may also bring alternative editions of the music in to the room with them unless the syllabus has specified a particular one (perhaps for a cadenza).

However, do check the music is the same. For example, a change of key may change the difficulty

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level and will therefore not be acceptable. It’s important to remember that photocopies are not allowed however.

It is also worth encouraging your students to check the starting note for each piece or scale quickly (pluck or bow).

Starting on the right finger but wrong pitch in the scales will not give the required key and the same applies to sight-reading.

It’s really worth having the sight-reading book too. It has a range of difficulty and the middle level is what appears in the actual exam. Keeping in the key and pulse will achieve the most marks, then examiners

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consider dynamics and mood.

Maintaining a steady tempo is also important and it’s better to sacrifice bowings rather than slow down to get them right. There are also a few optional fingerings in the practice books and real tests. Playing other repertoire during the year and two minutes of improvising in every lesson also makes a huge difference to the mark here.

Practicalities and research It is good to practice the exam in detail with students. Try setting your usual room up with a desk and chair to recreate the experience. If possible, it’s musicteachermagazine.co.uk

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Philharmonic Orchestra; Music Director Emeritus, New York Philharmonic Orchestra; Former Principal Conductor, London Philharmonic Orchestra; Former Conductor, Dresden Philharmonic Orchestra; Former Senior Director, Music Komische Oper of East Berlin; Former Kapellmeister Gewandhausorchester Leipzig.

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ABRSM Violin Notes 2014–15 listening to the opening of each piece there if you don’t have the CD so that you’re aware of the tempo and to double check you have the right music if it’s not in the exam book!

So too, do encourage students to choose pieces that suit them!

It is impossible for them to give a committed performance if they don’t like a piece and it is full of elements they know they can’t do easily. It’s worth remembering that in addition to the pieces found in the ‘main’ ABRSM books, there are a host of musical gems that might excite and motivate a student so that they will want to play and perform to their best ability.

also advisable to play in the exam room itself in advance.

Candidates will discover little things such as how best to open the door with an instrument, bow (pointing up or down?) and music in hand, how to put the music on the stand easily (tags for easy opening), and saying hello, making eye contact with the examiner and smiling – all

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of which are very much part of performing and will help students to relax.

There is a huge amount of information about all of this on the ABRSM website of course, including the marking criteria that examiners use, videos of exams and teaching clips, and a range of other practical resources. It is also worth

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The exam It’s important to remember that candidates can choose which section of the exam to do in what order. Although it’s often best to play the pieces in alphabetical order by list, if students are worried about the A piece, starting with another one may help them to relax. If students do want to change the order of their exam, they can simply hand the examiner a slip with the details when entering the exam room.

Bad tuning is of course critical and can cost marks. Whilst students from Grade 6 upwards are expected to tune their own instruments, the teacher can come into the room and tune the instrument up to Grade 5. If this is the case, it’s best for students to bow, while the teacher twists the instrument’s tuners so the arm weight is consistent. I often hear a teacher tune an instrument perfectly but then smaller arms can take the pitch up a quarter tone. Moving pegs in advance so there is some slack with the tuners is often safer and quicker.

Tuning also allows a candidate to get accustomed to the acoustic.

Playing a few notes on the piano can also help. If there are lots of open strings in a piece (especially in the early grades) it’s useful to ask the pianist to play a chord musicteachermagazine.co.uk

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BEHIND THE EXAMINER’S DESK

underneath each string to double check. It sounds a little obsessive, but it is heart breaking when the A wasn’t quite perfect and then the other strings get further and further away from the truth.

Examiners are not able to help with this, so care is essential.

Extra marks will not be given to anyone playing from memory, but some candidates may prefer to do so. Memorising the beginning and end of each piece, pizzicato bars and harmonics sometimes builds confidence so teachers could encourage their students to add words at the start to get the pieces flowing. Candidates should always bring the music with them. Standing back from the music stand (rather than leaning in closer for the harder passages) and keeping it as low as possible creates a polished effect, but being comfortable is the most important element.

You may find that examiners offer to alter the height and angle of the music stand but the accompanist can do it too.

Students can stand anywhere in

relation to the examiner and the piano, but preferably not with their back to the examiner as this makes it harder to hear, and communication, balance and shaping are also challenged. It’s much better for candidates to aim the ‘f holes’ in our direction!

The art of accompanying is also worth consideration. We are not examining the pianists but balance is crucial.

I’d recommend encouraging your students to actively keep their eyes moving forward. If they tend to stare at the note they are actually playing under pressure, this often makes them play too cautiously. Top marks are reserved for a ‘performance’, so changing the point of gaze may also help them to relax (music, bow, fingers, pianist, point of contact and breathe).

Repeats are not required unless it is integral to the structure of the music of course.

Examiners may also need a few seconds in between pieces while we write – Grade 1 pieces are particularly short! – so candidates

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can use these moments to turn the page and find the first note for the next one.

Being familiar with the aural tests is essential of course.

Confident and quick answers are best and there are lots of resources to help us teachers!

It is really worth the effort and it’s best for students to practice their aural skills all year round.

It’s heart breaking to lose marks in this section of the exam when so much work has gone into the pieces. Balance is all!

Tension and nerves can also make the student do something different – some crunch the sound, some tighten the left-hand and can’t adjust tuning or shift smoothly, and so on. Watching our students perform in relaxed situations can tell us what is likely to happen when under pressure, allowing us to focus on that particular element.

Above all, do explain to your students that we examiners want them to do well – hence our motto: ‘I’ll do my best to help you do your best’. MT MUSICTEACHER

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ABRSM Violin Notes 2014–15

GRADE 1 A list A1 Arbeau Mattachins

There is not much about this catchy piece that is not revealed at a glance and on first playing. It is also the most straightforward to play, consisting entirely of crotchets and quavers with no slurs or staccato and with a very strong metre. Emphasise that it is a 16th-century sword dance and encourage students to feel the metre in their legs or by clapping. If you know a bit about Baroque dance and can teach them a little, so much the better!

Prepare bowing by playing punchy quavers in the lower half and longer strokes for the crotchets – not necessarily whole bows but making sure the arm is swinging freely past the middle of the bow.

Prepare the left hand by practising playing 2 – 0 and open D string to 3 on the G string – which also happens to be great exercise for scales and arpeggios. Use 4th fingers in bar 7 and bar 16 if you are aiming for a distinction.

A morale-booster for your students is that once they have learnt bars 1 to 9 they have effectively learnt the whole piece – not that much encouragement will be needed for them to enjoy this.

A2 Handel Menuet from Music for the Royal Fireworks, HWV 351

The attraction of this piece lies mainly in its fame although young students may well never have heard it, so may instead be attracted to its inherent quality and class. They can hear that it sounds like ‘proper’ classical music and will respond well to the regular phrase lengths, sequences and imaginative melodic writing.

It is arguably the most difficult of the three A-list pieces in the Grade 1 book as it contains slurred quavers, notes that can only be played with the 4th finger and two places where the student either has to be very dextrous in crossing strings to or from the 4th finger, or has to cross strings during a slur. Bar 16 is likely to require the most work and preparation in order to achieve a fast down-bow on the E string on beat 1 followed by a two-beat dotted rhythm on the A string, 4th – 3rd finger.

A3 Mozart German Dance from K.605 No.3

A simple dance with lots of repetition, this piece is another good starter for the exam programme, beginning as it does with four bars of boldly stated G major arpeggio segments. Although it is possible for the piece to be played entirely without the 4th finger, it is also an ideal opportunity to employ it and let the student have plenty of practice at playing

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ABRSM violin notes 2014-15 grades 1-3.indd 10

0 – 4 for the same note.

The slurs in bars 4–6 and 12–14 may take some practice as they cause each of the identical bars to be played on a different bow. Do plenty of work to ensure comfort within triple time. This will also help to secure the pulse in the opening two bars where some students are going to want to rush through the rests.

The three repeated bars at the end of each section provide an easy way for students to demonstrate contrasting dynamics – and appreciate the difference they make.

A4 Anon. 17th-century English The Duke of Lorraine’s March from Violin Star 2 (ABRSM)

With its simple, four-square rhythms, this is a straightforward piece to rival Mattachins. Firm, détaché strokes will add purpose to the quavers and maintain energy after the semiquavers. Contrast this with long, open bows on the crotchets.

The left hand should be simple to teach, requiring high 2nd fingers and no awkward string crossing.

Use 4th fingers in the piano at the beginning of the second section to achieve distinction-level marks, along with firmly contrasted dynamics which are clearly designated per half phrase and also offer the chance to show a crescendo towards the end.

This late-Renaissance march conjures up the sound of drums, wind instruments and fiddles that would have adorned courtly banquets. It is simple to grasp and therefore perfect for younger students.

A5 Arne Allegro from The Fairy Prince (Violin Playtime, Book 2, publ. Faber)

Master of Italian opera styles, Thomas Arne knew how to write a good melody. The fanfare-like opening bar sets the player off on a solid footing and goes on to spin a short tale including a yearning minor 6th using extremely simple fingering and a minimum of string crossing.

The 2nd finger is employed in both high and low positions and slurs form an essential part of the piece, mainly at the ends of phrases. Rather than presenting a challenge, however, the slurs are a vehicle for stylish ‘phrasing off ’ and are well worth spending time on as they feature so prominently.

Each section of this two-section dance is essentially made up of four bars that are repeated to make an eight bar phrase and this, together with the simple rhythms and bold melodic material, make the piece another obvious choice for younger students.

A6 Purcell Rondeau from Superstart Violin – The Complete Method (Faber)

Taken from the music written for the beginning of the masque The Fairy Queen, this Rondeau would have been one of a suite of dances played as the audience were taking their seats, to whet their appetites and set the mood for the drama to come. musicteachermagazine.co.uk

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GRADE 1 It is the slowest of the dances, so focus on the Andante marking and establish a gentle character by using a fairly slow, light bow for the first phrase, marked piano.

The piece is simple enough to play, with plenty of sequential repetition, which gives the perfect opportunity to play contrasted dynamics. Although there are a lot of moving quavers with slurs suggested, these are all within scalic patterns and mainly on one string. As the music climbs higher in the second half and moves around E in bars 11 and 12, using the 4th finger along with some open E notes becomes necessary, and bars 13 and 15 demand the use of the 4th finger along with low 2nd finger on the E string.

A good choice for students with a gentle disposition and a well-developed left-hand technique.

B list B1 Brahms Sandmännchen: No. 4 from Volks-Kinderlieder, WoO 31

Do not be put off that this Grade 1 piece is

by Brahms. It is eminently suitable for the grade, coming from the composer’s collection of folk songs for children. It does contain upbeats, dotted rhythms, both high and low 2nd finger, and one instance where it is essential to use the 4th finger, but there is nothing particularly challenging until the last line. Bars 14 and 15 demand some nimble string-crossing within quaver movement and also call for the 4th finger, but all this is only the first five notes of the G major scale in sequence.

Sandmännchen is a perfect contrast to the lively A-list pieces, being a lullaby and only rising as far as mp, and the twinkling piano part which is Brahms’s original will add magic and sophistication to any performance.

B2 Huws Jones The Boat to Inverie

In the style of a Scottish folksong, this has a natural lilt and plenty of opportunity to show off dotted rhythms. Being an original composition by a violin teacher it is also written in a completely idiomatic way for the violin. Although there are plenty of slurs, none of them cross strings and in fact they make the piece extremely simple to bow, working out at one bow per bar.

Work on a solid sense of triple time and to achieve a really secure performance play through with the piano part as much as possible. If a student has difficulty with the dotted rhythm, invent some words and most importantly, work on sustained bowing and even bow distribution. Pronounced dynamics for the echoes will enhance even a rudimentary performance by a few marks.

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B3 Dacre Daisy Bell

Another lilting piece in triple time, Daisy Bell starts off with straightforward bowing for the first two phrases. After that it gets considerably more tricky, with minim-crotchet rhythms on separate bows as well as long tied notes at the ends of phrases to imitate the words. Practise the minimcrotchet rhythms on one note, encouraging slow down-bows and fast up-bows. Once mastered, this technique will come into its own at the end of the phrase in bars 21 and 22.

Some mini scale and arpeggio games between G on the D string and D on the A string will set the hand up for the whole piece and will be particularly necessary in the third phrase, where the student will have to contend with low 2nd finger, uneven bowing pattern, string crossing, 4th finger and a long tied note.

Despite these difficulties, this song’s familiarity can inspire enough enthusiasm towards the end result for a student to surmount the obstacles and produce a satisfying performance.

B4 Blackwell and Blackwell The Old Castle from Fiddle Time Joggers (OUP)

The simplest of the B-list collection, this piece is perfect for younger students. The bow moves at minim speed throughout and slurs only contain crotchets, without a dotted rhythm in sight. Nearly all the movement between notes is stepwise and each phrase stays on one string, meaning no awkward string-crossing under slurs.

To achieve high marks on this piece it is important to have a good tone and the ability to play legato. Make the most of the moderate dynamic contrasts.

B5 Holst Jupiter Theme from Classical Pieces for Violin (De Haske)

A perennial favourite, Jupiter will appeal to students attracted by its noble-sounding theme.

This arrangement is markedly simplified, using only straight rhythms, which does make it easier to play in one sense but will leave any student who knows the original feeling slightly frustrated. Unfortunately the piano part is also a dramatically pared-down version of the original music, meaning we lose much of the rich harmony and supportive passing notes.

Unlike some of the other B-list pieces, this does require 4th fingers, and they have to be strong and accurate to play the important high Bs at the end.

This is potentially a good choice for a student with an attractive, controlled sound and well-developed left-hand technique but it is not an easy option.

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ABRSM Violin Notes 2014–15 B6 Sullivan The Merryman and His Maid from Piece by Piece 2 for Violin (Boosey & Hawkes)

With its lyrical lines, this is a nice contrast to the A-list pieces while being technically straightforward with simple rhythms. After the first phrase, which is outlined by the D major arpeggio, it is remarkable to note that the rest of this well-known song is essentially the D major scale in small and larger fragments.

As you will not be doing the repeat in an exam situation, take the forte dynamic for the second half, really bringing out the high D. It is necessary to use 4th fingers here to keep slurs on one string in bar 28 and to prevent the quaver A in bar 17 from being too conspicuous among the D string notes. Probably the most challenging thing will be to teach students to count the long rests at the beginning. The five-and-a-half bar rest could usefully be shortened as long as the student is sufficiently familiar with the piano part to know exactly where to come in.

C list C1 Gray and Sigman Pennsylvania 6–5000

As with Daisy Bell, this piece may appeal to students who are desperate to play something famous, but teachers may be less keen as the piece presents harder technical and rhythmic challenges than the others on the list. If a student loves the music and has heard it several times, ideally played by the Glenn Miller Orchestra, they are likely to pick up the syncopated rhythm without much fuss.

It is the slurred, descending triads that will need special attention – the E minor arpeggio should come into its own here. The accents above the up-bow descending triad slurs are an apposite reminder of how to make a violin sound like a jazz clarinet and will require extra effort. Play this through with the piano part many times so that the student can get used to launching in at the right point after the introduction and counting through the piano coda to play the last note convincingly in time.

C2 Dawe Russia – Gopak

With its exuberant mood and simple folk music phrasing, this is a great piece for young players. All the phrases are eight bars long apart from the last one, which playfully accelerates as the phrases get broken down into two-bar and then one-bar units, making for a fun counting challenge.

The rhythm could not be simpler, being made up entirely of crotchets and quavers, and each phrase begins and ends with an emphatic crotchet.

The fact that the composer was a music teacher is evident from the sympathetic violin writing, which

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ABRSM violin notes 2014-15 grades 1-3.indd 12

incorporates lots of scale patterns and does not demand anything more difficult than open string followed by third finger on the string below.

C3 Janácˇek Dvoják

This dance is actually fairly sedate, as the piano part will reveal when you play it through as a whole, so focus on the Andante marking rather than the sf markings at the beginning. The crotchets can be legato but keep the separate quavers detached so they have a bouncy feel, both in the upper half and the lower half of the bow.

In order to achieve confidence with the changing metre, practise lots of rhythm games that swap between two-time and three-time. Essentially just two lines of musical material repeated, this piece is a charming and relatively easy antidote to the more foursquare music your students might be used to.

C4 Martin Hoe Down from Little Suite No. 3 (Stainer & Bell)

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This fantastic little piece has all you need in a programme finisher: extrovert character, extremely violin-friendly writing and a lively piano part, full of cheeky interjections. The first half is built on 3rds centered on open strings and 2nd fingers and neither here nor in the second half are there any tricky string crossings to 3rd finger on a lower string. There are pairs of slurred quavers but these are always on one string, in a comfortable stepwise pattern or from 2nd finger to open string – they are simply ornaments and serve to give the music its ‘country’ character.

The second half takes the same two crotchetminim rhythm and opens up the sound to include 6ths and 5ths, offering the opportunity to introduce some tonal contrast. Although the dynamic here is a conservative mf, you could justifiably bring it right down to piano for the second phrase before launching into the first material again at the DS with a healthy forte.

C5 Nelson Fiddler’s Fancy from Right from the Start (Boosey & Hawkes)

If you want a piece that will be robust under pressure, look no further than this one. It is essentially made up of scales in quaver movement with the contrasting crotchets after each scale figure centring around open strings. There is scope to use the 4th finger but it is not necessary and the stepwise slurs over crotchets are easy to manage.

With no repeat allowed of the first section in an exam, take care to add quiet dynamics to allow for some contrast, perhaps in bars 7 and 8.

What it offers in terms of playability it rather lacks in terms of musical interest so make sure any pupil who chooses this piece for a performance can inject the necessary life into it.

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GRADE 1 C6 Trad. Greek Arcadian Dance from The Greek Fiddler (Boosey & Hawkes)

Although this is a gentle choice for the C list, the col legno and harmonic will appeal to pupils who are excited about the possibilities of the instrument and impatient to do more with it. Given that the piece is in 5/4, it is probably helpful that it is not very fast-paced. Enjoy getting used to this new element by playing rhythm games, perhaps including some physical movement to really make the point.

Once one has mastered the new elements outlined above, there are still more technically challenging elements than in most of the other C-list pieces. Fortunately the slurs are not written over two strings, but bars 11 and 15 will need special attention so that the pupil can manage to cross over to 3rd finger on the D string after slurred quavers on the A string. The slurred quavers in 3rds and the hooked bowing will also need looking at.

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ABRSM violin notes 2014-15 grades 1-3.indd 13

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ABRSM Violin Notes 2014–15

GRADE 2 A list A1 Handel March by Mr Handel

With its compelling melodic sweep and strong supporting accompaniment, this piece is a solid choice. The students who will make the best of it will be able to maintain a singing tone through the semibreves at the end of each half-phrase so that the music keeps its direction. Think about how to ease the challenges of bow distribution at the beginning of the second section – some teachers may like to add or take away slurs to help with this.

The marked trills give an opportunity to teach these ornaments in the simplest way. However, if a student feels overwhelmed even by moderately fast semiquaver movement, it is wiser to leave the notes undecorated in bars 7, 15 and 23. Instead, concentrate on a firm tone through the slur to bring each phrase to its conclusion.

A2 Holborne The Honeysuckle

A lively Renaissance dance in two time, The Honeysuckle is a great programme opener. The two bold crotchets at the beginning of each phrase in the first half will get the bow arm moving and encourage a full sound. The second half of the piece gives the opportunity to explore different tone qualities relating to the bold key changes. In practice this will mean dynamic contrasts along the lines of what Edward Huws Jones has suggested.

There are new technical and rhythmic challenges in the form of two staccato up-bows across the string in bars 10 and 18 and the tie and ‘syncopation’ in bars 7, 24 and 25. The main challenge with these is that they may be new ideas – be careful not to ignore the old issues of preparing the 4th finger when approaching from the string above and keeping bow strokes contained on short notes.

A3 Járdányi French Troubadour Song

This is both in an unsophisticated style, in the most positive sense, and written as an educational piece which in many ways makes it the most straightforward to teach. Once you have established a secure sense of compound duple time there will be no rhythmical difficulties – indeed, the bow arm moves on the half bar throughout the piece, which will automatically lend a strong sense of pulse.

Being in G major with no unusual harmonies or modulations, all the pupil has to think about in relation to finger position is what they would remember in order to play the scale. Leave the 1st finger down on the B in order to manage bar 16 neatly. The only significant new challenges are the

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ABRSM violin notes 2014-15 grades 1-3.indd 14

double stops at the end, creating a drone effect with the open G. If these cannot be evenly played, emphasise the top line and encourage the student to position their arm between the G and D string levels and to at least touch on the open G at the beginning of each bow stroke.

A4 Byrd Wolsey’s Wilde from Piece by Piece 2 for Violin (Boosey & Hawkes)

This is a lovely piece in 6/4 time, with the violin line composed entirely of fragments of the D major scale and arpeggio. Although there is some call for 4th fingers, all the music lies easily under the hand.

After all, it would have been composed as a light diversion and played at a lively tempo by court musicians, probably using viols.

It can mostly be played with small amounts of bow, around the middle. Being a dance in compound time, there are plenty of uneven rhythms and these can be managed fairly easily by imitating what a performer would do on gut strings, using more weight than length for the long notes as they come on main beats and need to be emphasised, and keeping the bow light and fast-moving on the less important (and shorter) notes.

Students may find the quaver figuration in bar 9 easier to manage if they start the bar on an up-bow, which is how it comes in any case. This leads to a spot of viol-inspired bowing: up-down on the crotchet-minim rhythms in bars 13–16, which works with bow direction to make the string crossing easier in this phrase.

A5 Lully Gavotte from Festive Baroque – Violin (De Haske)

Here is another inspired choice for the A list, full of innate style and contrast while remaining firmly in reach of elementary violinists. The tempo suggested in the ABRSM recording is realistic for the grade although it tends towards a feeling of fourtime rather than two-time so make the most of the suggested articulation marks to keep it lively. The CD that comes with Festive Baroque gives a vivid idea of how uplifting the piece can be when played at the ideal tempo.

The staccato marks over the first crotchets are mainly there to give the upbeat lightness and they need not be off the string. In the following slur, let the student lean into the first note and lighten the second. After this stylish dance figure is established, enjoy the simple evenness of the separate quavers.

This piece will require some rehearsal with the piano part, which is fairly challenging in its own right, to get used to the long rest in the middle of the second half.

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GRADE 2 A6 Mozart Little Song from Magical Mozart (Fentone)

This charming piece sits on the cusp between Grades 1 and 2 and is a great choice for pupils with a refined sound, or those needing to develop one.

It also provides more practice with triple time. The features that push it into Grade 2 territory are some tricky string crossing, including some under slurs as in bar 9, one instance of hooked bowing and one instance of high 3rd finger position.

Before committing a pupil to learning this piece it would be worth doing a litmus test to see how they cope with the opening two bars. As the piece was written for a beginner keyboard player in the shape of Wolfgang’s sister, Nannerl, the theme fits perfectly under the pianist’s hand as it creates a melody from notes within a 5th. It is much more awkward for a beginner violinist to play owing to the melodic fifth within quaver movement. The good news is that the rest of the piece is much kinder to the violinist.

B list B1 Schubert Heidenröslein, D 257

In principle this is a lovely choice for the second piece as it explores a more tender musical style, while the background to the piece remains simple – it is about a boy plucking a rose despite the threat of its thorns. The first two lines and the last are straightforward enough but you will need a student with a strong, relaxed right arm, and a left arm able to pull off the climax in bars 11 and 12. Not only is there an encounter with chromatic fingering but the top G needs to be strong, sustained, and linked to the quaver C# that completes the dotted rhythm. Encourage as much openness in the bowing as possible in order to imitate a singer and this will help carry the student through the technical challenges.

B2 Rossini Theme from William Tell

This must be one of the most coveted pieces to play by any child given how famous it is.

Fortunately, it lends itself well to this level and can be a satisfying choice for those fascinated by speed and brilliance. Due to its length it is probably better for older children rather than the youngest.

Practise short, contained bow strokes for the semiquavers and strong, straight bows for the detached quavers while helping the student keep their upper arm still. If they have trouble with the marked   bowing, for example in bar 2, replace it with    or separate bows. The tied top-As in bars 7, 15 and 39 feel long, and may need extra attention. As the main beats are quite slow, perhaps suggest to the student that they count quavers on these notes. musicteachermagazine.co.uk

ABRSM violin notes 2014-15 grades 1-3.indd 15

B3 Trad. Irish Londonderry Air

Surely this is the piece to whip out when pressed at a gathering, and for this reason it should appeal to many older students. Even though the key is familiar and there are no new and obvious challenges, it is not an easy choice given that we are used to hearing soaring arrangements with banks of strings. Invite the student to approach the piece as though they were going to sing it, aiming for direction through the three-quaver upbeats and lightly sustained slurs, never pressing with the bow.

To ensure a smooth line through the first halfphrase and every time it comes back, practise the rising fourth, B to E, focussing on an open hand.

A strong and reliable 4th finger is essential as it is called into play frequently and most notably in bar 13, where the melody reaches its peak. Although the student will be aiming for a full sound throughout, make sure they reserve a few ounces of effort for this point.

B4 Haydn Theme from ‘Kaiserquartett’, Op. 76 No. 3 from Classical Pieces for Violin, (De Haske)

This well-known piece is a great choice owing to its simplicity, which is of course why Haydn chose it as the theme for his set of variations in Op. 76 No. 3. You can use free and fulsome bow strokes throughout at a stately tempo. Even if the German words have uncomfortable connotations, do encourage students to approach it as a song, singing through every note – even the separate crotchets.

The main challenge is the dotted crotchet-quaver rhythm, particularly when it comes twice in a row in bars 7 and 8. In this particular place it may be easiest to strictly limit the length of bow so as not to run out; alternatively, try hooking on down-bows and up-bows.

For the left hand the challenges come with changes of string. Bar 4 requires a quick hop by the 3rd finger to play G and then D or, alternatively, for the 3rd finger to hold two strings down at once.

Bars 12 and 16 require good preparation of the 1st finger and 3rd finger – excellent learning material when paired with the G major arpeggio.

B5 Mendelssohn Venetian Gondola Song from Violin Star 3 (ABRSM)

A gentle piece which would make a great contrast to any of the pieces in the A and C lists, with the possible exception of Hedwig’s Theme. Despite being a piano piece originally, it translates well to the violin with the basis of the piece being a 6/8 crotchetquaver rhythm under slurs. This bowing pattern will be fairly easy to teach and to put together with the separate quavers. Some teachers may choose to hook and slur the crotchet-quaver rhythms in bars 23 and 24 if their pupils are finding it difficult to adopt the upside down bowing suggested.

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ABRSM Violin Notes 2014–15 The biggest challenge for some will be playing the augmented 2nds that litter the piece but this makes it an ideal partner to harmonic minor scales of course. The other issue will be counting the long rests during the introduction and two piano interludes. Play it through with the piano part as much as possible and encourage the pupil to listen to the CD to get absolutely comfortable with how the piece hangs together.

B6 Weber March of the Hunters from The Young Violinist’s Repertoire, Book 3 (Faber)

Another lively option, which has been carefully chosen and arranged by Paul de Keyser to produce excellent results when a few simple techniques are applied clearly.

The first technique to master is the accented down- and up-bows. This will help with the detached quaver strokes, for example, in bars 9–24, as well as the hooked up-bows in the outer sections. The student might need some time to get used to the semiquaver-quaver figure that appears repeatedly in bars 29–30 and bars 33–34 – a good warm-up might be to play E-B as quavers in a loop and then try E-D as semiquavers on the beat before putting it all together.

The double-stopped A and C# at the end will be an exciting step forward for the advancing student.

Ask them to concentrate on the 3rd finger A in order to maintain an open hand and the rest will follow.

To optimise marks, make the most of the tenuto crotchets in the middle section, using long bows. By contrast, very small amounts of bow are needed to achieve a piano filled with energy and potential in the third section.

C list C1 Schwartz Sher

Being Klezmer, this music sounds made for the violin. The main issue or challenge is to produce a convincing staccato. For a distinction it would need to be off the string but if that isn’t happening you can still get right into the spirit of the music by playing each staccato quaver with energy and a firm beginning.

For the theme in the first half use the momentum generated by the bold crotchet on the first beat of each bar to propel the quavers that follow. In the second half, make the most of the slurs as a contrast to the first theme, especially bar 17 where the student can be encouraged to use as much bow as possible to emphasise the first note in each pair.

C2 Szelényi School Break

This was written as an educational piece and it is certainly well pitched for this level to encourage clear and confident playing. The bowing and rhythm

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ABRSM violin notes 2014-15 grades 1-3.indd 16

is extremely simple and should be despatched with ease. Take the opportunity to focus on clear bow division in bars with the crotchet, quavers, crotchet, quavers rhythm present in bars 7, 11, 13 and 17.

The potential issue for the left hand will be playing with a mixture of low- and normal-position 1st finger, as the key is C major. Warm up with the different finger patterns, perhaps including some improvising or call-and-response around the C major scale. The double-stops in 5ths at the end bring a completely new element to the piece, which until this point has been all about 4ths. For the E and B 1st finger, keep the finger relaxed and emphasise the E. Note the fortissimo marking and approach with abandon!

C3 Trad. Jamaican Mango Walk

Successful performance of this piece hinges on being able to play two broken chords well. Prepare by playing mini arpeggios or call-and-response, perhaps starting with just two notes. For the bars made up of the G major chord, keep the 1st finger down once it has played the first B. After that comes the syncopation, which can be built into the warm ups, and finally playing each bar as a whole, including the slur. Try putting some words to the rhythm and getting the student to sing it with pitches.

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C4 Huws Jones Haley’s Comet from Violin Star 3 (ABRSM)

This piece makes cunning use of blues notes and walking bass figures to create a platform for learning how to differentiate between low and normal position 1st fingers. The changes between the low and normal positions are a musical feature in themselves, meaning that although this piece is built around a new element of technique the performer will easily dedicate mental space to manage it, rather than feeling it is an unwelcome obstacle. Pair it with Bb major, F major, G minor and D minor scales and arpeggios.

Students will love the swung, syncopated rhythm and are likely to pick it up quickly, although watch out for the crotchets on the beat in bars 3, 4, 7 and 8. The pizzicato walking bass figures in the second half effect an effortless contrast and the rests at the end of each will be easy to count as they contain short interjections from the piano that lead into the student’s next statement. An enjoyable and solid choice.

C5 Trad. American Groundhog from O Shenandoah! for Violin (Faber)

Here is a piece that can be played with plenty of gusto and does not call for refinement – the main quaver and semiquaver rhythms just need to be firm and the quavers detached. Make the most of the up-bows at the beginning of the Groundhog rhythm musicteachermagazine.co.uk

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Being in Bb major, the piece is an ideal partner to both the Bb and the F major scales. Some students might struggle with the 4th finger A after a low 1st finger – in bar 7, for example – in which case they could play a open A, which would fit in appropriately with the folk style.

As well as the earthy rhythmic material, which calls for energetic bowing, boisterous students will have fun with the col legno passage and the snap pizzicato at the end.

C6 Williams Hedwig’s Theme from Easy Popular Movie Instrumental Solos, Violin, Level 1 (Alfred)

No doubt most children rejoice when they see that this is an option for their exam! They will love

the feeling of playing such a well-known theme and for the first eight bars, so far, so good. After that, almost every bar seems to throw up a technical challenge. There are the five-beat notes followed by crotchet upbeats, similar to those in Daisy Bell, and the many awkward minim-crotchet bowing patterns. Then there are the augmented-2nd finger patterns, one of which, in bar 28, could be made more manageable by using 4th finger for the G#. The semitone slides need a quick and flexible 1st finger for the B to Bb, but are a fun feature that is there to be enjoyed, much like the octave intervals, which necessitate crossing two strings at this level.

If you have a pupil who is ready to understand and negotiate the chromatic possibilities of the fingerboard in order to satisfy a burning desire to play this piece then it will be worth the effort, but it does need full commitment.

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ABRSM violin notes 2014-15 grades 1-3.indd 17

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GRADE 3

GRADE 3 A list A1 Anon. 14th-century Italian La Rotta

itself. For more able or mature students, help them to develop an awareness of phrasing by putting in subtle crescendos and diminuendos, for example, to point out the beginning of bars 3, 4 and 6.

A4 Bach Gavotte from The Young Violinist’s Repertoire Book 3 (Faber)

This is one of the most technically and musically simple pieces on the A list, being a medieval dance.

It does not call for a refined sound and the pulse is strongly present, allowing the player to emulate a folky style which can liberating. The general pattern for phrasing is as follows: first bar; second bar; third and fourth bars together. Ask the student to emphasise the downbeats of the first, second and then fourth bars in order to direct the end of each phrase.

Some students might find it hard to manage the semiquaver runs calmly, as they descend in a hurry at the end of each phrase. As there are two slightly different patterns, divide them into two groups and try a variety of practice techniques to embed the sound and physical finger motion into the student’s memory – for example, using dotted rhythms, or stopping on different notes.

While there are new techniques in this piece in the form of chords and bariolage, it is relatively easy to make a convincing performance – the music virtually plays itself. In the first phrase the high F# and the chord combine to start the piece with flair and the rising pitch helps us to aim unambiguously for the middle and then the end of the phrase. At the beginning of the second section the subdominant key is given additional colour by the use of lower pitches, and then the editor invites us to match our dynamics to the rising pitches which in turn lead back to the forte first phrase in the brighter home key.

Before beginning to teach this piece make sure the student is comfortable with bariolage. Start slowly, with up-bows on the upper string and down-bows on the lower one, working on free wrist movement and making circles with the arm/hand.

A2 Corelli Gavotta

A5 Handel Hornpipe from Fiddle Time Sprinters (OUP)

Perhaps the most challenging piece on the list, this could be a good choice for a student who is ready to move on and needs exposure to some of the musical canon.

The string-crossing quavers present a good opportunity to teach leading with the elbow at the same time as using short, light bow strokes. The slurred semiquaver ornamentation will increase the player’s finger facility as well as being an introduction to this characteristically Baroque bowing pattern.

Being in F major does usually present some awkward finger spacing – for example, going from 1st finger F to 4th finger E in bar 10 – but it requires an extremely competent student to be able to manage the 4th finger extensions to the high C and back down to F natural in bars 11 and 15. Not for the faint-hearted!

A3 Mozart An Chloë, K524

There is an old piece of wisdom that says Mozart can only be played well by the very young and the very old. Whatever the truth of that, it is a helpful reminder of what is and what is not needed in this piece. A good tone and free bow-arm are prerequisites as they will be plainly on show. Sing through the slurs and use fairly long bows for the hooked crotchets. If it does not cause more trouble than it is worth, maintain an even, warm tone on the A string in bar 2 by shifting into third position.

On one level, all that is needed is poise and a good enough technique to let the music speak for musicteachermagazine.co.uk

ABRSM violin notes 2014-15 grades 1-3.indd 19

This old favourite is fairly straightforward to teach and play, although it will benefit from some use of third position beyond what is already necessary, as well as extra up-bows to emphasise the Baroque phrasing. It is a great programme-opener, beginning with three bold minims in D major, and this extrovert character informs the rest of the piece, making simple and bold détaché strokes the order of the day. Encourage your students to listen to the orchestral version of this to get an idea of the energy and different colours available – there are several good versions to be found on Spotify if you search for ‘Handel Hornpipe’.

Although not marked, it is nice to start in third position as this should ensure good tone on the E at the end of the bar and will minimise string crossing in bars 3 and 4. Do use the extra up-bows in bars 5 and 6 and all similar phrases so that the player gets used to feeling the downbeats on down-bows, and perhaps gets a sense of how to lighten all other notes. Having established that pattern, enjoy subverting it for the hemiolas in Bars 9 and 10 and 25 and 26.

A6 Hasse Bourrée from Festive Baroque – Violin (De Haske)

While being quite sophisticated, this dance bears some similarities to La Rotta and the Handel Hornpipe, requiring comfort with a two-quaver upbeat as well as phrase shaping over four bars. The demands on the left hand are nothing more than a MUSICTEACHER

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ABRSM Violin Notes 2014–15 student will have already come across as the piece is in G major, modulating to D major, and does not move out of first position.

As with the Lully Gavotte, set for Grade 2, listen to the Festive Baroque CD with the student so that they can build up a full aural picture of how this sounds with organ and with full attention to contrasts in dynamics and articulation. Use a small diminuendo and crescendo in bar 8 and the corresponding places in order to shape the fourbar phrases. In the second half, the marked tenutos emphasise the shorter phrase lengths and then a crescendo towards the beginning of bar 27 will help to make sense of the answering four-bar phrase.

B list B1 Paganini Theme from Le streghe

Paganini knew how to write for the violin, so banish all thoughts about fiendish Caprices and consider this piece as it is satisfying to play and easy to deliver in a musically convincing way.

There are two main elements to master: the hooked, dotted rhythm bowing, and triplet scales and arpeggios. The dotted rhythm gives strong points to lean on and aim towards on the change of bow direction, and most students will pick up the hooked bowing here with no problem. For neat triplets, keep the bow strokes small and near the middle. It might also help to emphasise the first note in each triplet although in bars 21 to 28 the phrasing has more of a one-in-a-bar feel.

Bars 29 to 35 take us right ‘off piste’ through F major and into D minor with the attendant changes in finger pattern, so be prepared to spend a little time consolidating finger positions. At the beginning, using the 4th finger for the E in bar 7 as well as bar 8 will set up the hand to play D# with the 3rd finger as well as creating a sweeter, more consistent tone.

The marked Andante may seem on the slow side but it will give students ample time to play everything clearly, which is something Suzuki would have prioritised. Whether you style it as an angular dance, evoking cackling witches, or as more of an upright march is up to you.

B2 Schubert Ständchen from Schwanengesang, D957

This is a gorgeous serenade, full of longing. It is beautiful on the violin but really calls for vibrato, sustained bowing and shifting between first, second, third and fourth positions. Naturally, that is mostly not expected for Grade 3 but it may be difficult to teach it happily before these elements are in place – without them, it is extremely difficult to do the music justice. The top F in bars 17 and 23 will sound a little bald on the E string with no vibrato, but if

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ABRSM violin notes 2014-15 grades 1-3.indd 20

you teach these bars in third position the student will have to contend with high 4th finger C# followed by low 3rd finger F. If you have a musically mature child or perhaps an older student wishing to explore Romantic repertoire this could be a feasible option, but it seems hard for the grade.

B3 Schumann Träumerei from Kinderscenen, Op. 15

Again, this piece ideally calls for some fairly sophisticated use of second and third position, but its essentially gentle, sunny character makes it eminently possible to play it well in first position.

Having said that, it would be worth trying the first phrase in third position from bar 2, using a harmonic D immediately before shifting back to first position in bar 3.

On a basic level, the main issue is sustaining the tone and pulse through the long notes at the beginning of every phrase. There is nothing in the piano part on beat 3, adding to the suspense of reality but putting the onus on the student to lead into the following bar at the right time. There is a lot of melodic detail in the piano part and as this is mostly quaver motion, the violin student must be quite precise in order to fit in – for example, with the bass lead-in to each new phrase, or the melodic echoes in bars 7, 8, 11, 12, 15 and 16. Practise regularly with the piano to ingrain the right habits.

Although the piece is from the piano album, Scenes from Childhood, it was not originally intended for children to play. However, the simplicity and openness of the melody together with the many repetitions will sound suited to a child.

B4 Bridge Lullaby from Four Short Pieces (Stainer & Bell)

Although all the notes in Lullaby can be played in first position, it does call for some imaginative use of third position in order to match the expressiveness of the music. You may well find that you build in a lot of shifts but, chosen effectively, these can really carry the expression. Use slides, particularly for 1st finger – 2nd finger octaves as in bar 10, and consider using harmonics in places like bar 6 to bring out high notes.

A performance of this piece would be enhanced by some playing in third position on the G and D strings, but only if the sound is more sonorous than it would be in first position. Vibrato would help here and even though it is not expected at this level, some candidates do use it. Whether you decide to introduce vibrato or not, a beautiful, sustained sound is paramount.

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GRADE 3 B5 Carolan Carolan’s Air from The Fiddler Playalong Collection 1 (Boosey & Hawkes)

In contrast to the Romantic pieces on the list, this air sounds perfect in first position where possible, and open strings only add to the folk aesthetic.

Being a slow, contemplative piece it provides a platform for players to demonstrate beautiful sound and careful phrasing, while the natural flow of the melody means that the player never has to work at sustaining a note.

The phrasing is simple and much like Baroque dances – that is, bar 1, bar 2, bars 3 and 4 together.

Emphasise the first beats of bars 1 and 2 in each phrase and then aim for the fourth bar.

With its Celtic harp-style accompaniment, this is a beautiful piece, written effectively for the violin, and it will have a shelf life well beyond the exam as an atmospheric showstopper.

B6 Reinecke Without Care from Concert Repertoire for Violin (Faber)

In case you hadn’t heard of Reinecke, he was a 19th-century German composer who spent much of his life in Leipzig, studying under Mendelssohn, Schumann and Liszt and teaching Grieg, Bruch and Janácˇek among others. This is a lovely, graceful piece, which gives the student an opportunity to develop a singing tone, without any long, sustained notes or tricky rhythmic variations as appear in Träumerei. Based around falling and rising thirds over quavers and semiquavers at a gentle pace, there is just enough movement in the violin and piano parts to keep the music flowing effortlessly without it sounding busy.

The 3rds make it easy to teach the bulk of the melodic material quickly as they are grouped in slurred pairs on one string per slur. When chromatic notes appear, they are introduced in such a way as to cause minimum difficulty for the student by allowing them to keep the same finger position for one or two bars. The harmonies may sound slightly clunky as a result but this is music written to serve the student, which makes it an excellent choice for Grade 3.

C list C1 Berlin Puttin’ on the Ritz

This will be a popular option, particularly with older students. However, it is not straightforward rhythmically, with the syncopations coming in unexpected patterns in the outer sections. You could teach bars 2 and 24 first to let the student get the hang of the essential ragtime rhythm and then have them play or clap this at different points in a bar, as it happens in the main melody.

Short, punchy bows tend to work best for jazz, particularly when there are intricate rhythms to play. musicteachermagazine.co.uk

ABRSM violin notes 2014-15 grades 1-3.indd 21

Use small movements and finger action to play the uneven triplet scale figures, and consider using short bows in the lower half for most of the main melody, for example in bars 5–7. Long detaché strokes provide a nice contrast in the second melody, such as bars 21 and 22, but be sure to stop the bow on the string immediately after the straight crotchets in preparation for a punchy syncopated note in the third bar.

Arpeggios, specifically A major and D minor, are a major feature, so it would be well worth incorporating these into a warm up before playing the piece, not forgetting 4th fingers.

C2 Gordon Joshi’s Dance

Probably the simplest piece on the list and very straightforward to play, you can hear the subtle development of ideas that Gordon makes with the simplest material. There are four elements that are thoroughly contrasted and seem to suggest a child’s short attention span. Most pupils will not need much coaxing to throw themselves into the bold middle section from bar 24, which makes a feature of the open 5ths of the violin, but make sure that the piano cantabile section beforehand really does sound like another world.

For dramatic effect and possibly to help the performer to get ready, Gordon writes in pauses between each different idea in the form of commas and whole bar rests. As the piano part has whole bar rests at the same time, perhaps they need not be counted religiously as long as there is clear communication between the two performers.

C1 Járdányi Hungarian Dance

This is a really good, violinistic option with plenty of solid détaché playing to get the piece underway.

In the second section we have a classic easternEuropean folk figure using the open E string on the repeated E and adding a bit of bounce to the détaché semiquavers. The third section is the final instalment of new material before a return to the music of the beginning. It features staccato quavers, which can be played on the string if kept quite light in order to match the liveliness of the figure in bars 19, 23, 25 and so on, but will sound more impressive off the string.

Try not to be put off by the length of the piece. It is only really six lines of different music and should be relatively painless to teach, yielding quick results.

C4 MacKay Twilight Tango from A Tuneful Introduction to the Third Position (Stainer & Bell)

This is perfect as an opportunity to develop ease in playing in third position, and as it is in D major with no G string or shifting it is quite straightforward. Musically, it is pleasing yet simple and easy to grasp as it follows a predictable pattern.

As most students will prefer to play it entirely in MUSICTEACHER

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ABRSM Violin Notes 2014–15 third position, add some judicious slides to prevent it from sounding too clean and dull – for example, between the last two notes in bar 1 and similar places.

C5 Trad. Build that Wall from Up-Grade! Violin Grades 2–3 (Faber) If you have a student who can enjoy the laidback rhythms of this spiritual and play them with a ‘heavy tread’ at the same time as bringing out the important off-beats and the top of phrases, they will be able to communicate its power without turning the piece into a dirge.

Encourage lots of contact with the string and short, heavy bows for the syncopations in, for example, bars 9, 13 and 14. Make the most of the accented leading notes, as in bars 5 (the C) and 23 (the Gs). In answering phrases, consider adding a cresendo towards the middle to maintain direction up until the point that the phrase starts rounding off – for example, towards the beginning of bar 9 and bar 17.

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ABRSM violin notes 2014-15 grades 1-3.indd 22

The middle section contains lots of long rests that will be challenging for the student to count unless they hear how the piano and violin parts are meant to be in dialogue. Practise over and over again with the piano part!

C6 Trad. Spiritual Wade in the Water from Fiddle Time Sprinters (OUP)

An all-time soul classic, this translates surprisingly well to the violin. Listen to recordings to get a sense of style: Eva Cassidy’s is a classy version, and the Ramsey Lewis Trio give it life beyond the words.

The high notes won’t cause too much trouble as they are from the top octave of the D minor scale.

There are a couple of optional shifts for effect at the ends of the phrases but be circumspect about these as they come after a quaver and will be too quick for some pupils to manage.

The warm-ups at the bottom of the page in Fiddle Time Sprinters are well worth spending time on to get really comfortable with the syncopated rhythm and, as always, singing (or at least imagining) the words helps a great deal.

musicteachermagazine.co.uk

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ABRSM Violin Notes 2014–15

Grade 4 A1 Anon. 13th-century French Estampie royal, arr. Huws Jones

Oh joy! This lively compound duple medieval dance starts on open strings. It can be used as a commanding introduction to the entire exam procedure. The mood can be immediately set, and provided the bow remains below the middle, the accents and staccato notes that provide much of the character can be enjoyed and persuasively achieved. Rhythmic changes between the bars 4 and 5 (in the refrain) and in subsequent bars need to be highlighted with exercises introduced to forestall any muddling that could ensue. A flexible and balanced left-hand shape and agility in individual finger work is necessary to allow both for clarity in 4th finger placing, of which there is a fair amount, and passage work. Changing the fingering to 4–4 (instead of 3–4) at the start of bars 23 and 28 would help to keep the required projection and evenness of tone in this single forte passage. Difficulties in co-ordination between couplets and separate bows could be overcome by subtly lifting the bow from the string at the end of each couplet. This would also augment stylistic practice. There are a few bars where a change of bowing could help to shape the phrasing, such as an additional up-bow at the ends of bars 10, 21, 23, and 32, and care needs to be taken not to thump the final quaver at phrase endings. Finally, crescendo into a resounding and accented up-bow, augmenting the resonance of the piano chords.

A2 Leclair Musette: 3rd movement from Sonata in G, Op. 1, No. 8, arr. David

It is always a bonus when playing a piece that has not only been composed by a violinist, but also realised by a protagonist of the instrument, as things seem to lie so much more easily across the strings in both bow and left hand. This does not mean to say that all is exquisitely simple here, however. There is still the need to apportion the bow with care so that the clarity between the staccato notes and the longer legato flow remains suitably defined, with the couplets across the strings (bar 11) stylistically lifted. Staccato notes are both of the spiccato and gentle martele variety, so exercises such as those outlined by Sevcik in his Op. 3 could be of benefit in approaching this piece. This is a Musette, and as such the earthy idiosyncratic qualities need to be fully explored. Problems could arise in both the approach to accents and in the necessary ornamentation. Keeping the accents as quick indentations down into the string (rather than as a lengthening of the stroke across the string) and the mordents as a slick but clearly even left-hand flutter (think pibroch colouring) supported by a

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ABRSM violin notes 2014-15 grades 4.indd 24

slowing of the bow speed, and if necessary, moving slightly nearer the bridge momentarily, would help to magnify the character. Please be aware that the accent occurs on the minim following the grace notes – another tricky corner. Slow scale practice involving all these challenges could help here. This arrangement is full of dynamic change and would suit a pupil who enjoys experimenting with a full spectrum of tonal colour.

A3 McGibbon Adagio: 1st movement from Sonata No. 5 in C minor

The slowest of the selected List A pieces, this Adagio is a gentle but charming stroll through many of the characteristics of the Scottish Baroque style.

As such it could be viewed as the easiest option in the printed book, but the key of C minor with its more demanding fingering could prove a stumbling block. Many exercises in this key, based on various rhythms encountered in the movement, would be one way of overcoming any obstacles. It has been edited, and the keyboard part realised, by the harpsichordist Peter Holman. Most of the phrasing is original, but there are bars where a tweaking of the bowing, a subtle tucking in of an additional down-stroke, such as on the middle F of bar 5, or an additional up stroke at the end of the syncopated rhythms in bars 12, and 13, is needed to keep the shape viable. Certainly, remaining at or below the middle of the bow for the shorter length notes, and lifting towards the heel at the semiquaver and quaver rest, will augment stylistic accuracy. The correct approach for the ornamentation of the era has been helpfully highlighted in many examples, and certain dynamics included. But the latter remain as suggestions only, and understanding of harmonic colour change, sequencing, and tessitura can be implemented in the pupil’s attitude and feeling for the notes to enable a truly expressive portrayal. Most of the movement resounds best in first position, but there are a couple of bars where a change to higher spheres is necessary.

Alternative Pieces A4 Corelli Allemanda: 2nd movement, Sonata in F, Op. 5, No. 10 from Corelli 12 Sonatas, Op.5, Vol.2 (Schott)

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More straightforward than the previous List A pieces considered, this movement would make a strong opening work in the examination. Schott continue to publish this 19th-century edition (Gustav Jensen, the well-known editor of ancient music, was a pupil of Joachim’s) and it remains a stalwart volume in any aspiring young violinist’s library. The inclusion of dynamic marks helps to structure the phrases, and the suggestion that quavers should be staccato and marcato aids stylistic

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realization. However, care must be taken not to overemphasise these markings – use them only as pointers towards an appropriate performance, and refer to recordings of Baroque specialists of the present day for an accepted, authentic sound.

Everything can be played in the first position, with a 4th-finger extension for the top C on the E string in the opening bar. There are some wide string crossings that require a flexible right arm so that every note receives its true weight. A few trills have been printed out, but there are other cadence points (bars 4 and 7, for instance) and sequential passages (after the double bar) that could warrant further embellishment.

A5 Gibbs Aria and Variation 3, Sonata in D minor, Op. 1 No. 1 from Sheila M Nelson’s Baroque Violinist (Boosey & Hawkes)

Although the actual sonata is in D minor, the two short movements set as List A5 are in D major. The lyrical Aria, an Andante, is in binary form, which passes through the expected keys of D major, A major, E minor, A major, and back to D major. It poses no real problems, but care will be needed in bow division to shape the phrases stylistically. Try copying the weighting of the syllables in the word ‘apple’ to help mould the ends, and return the bow towards the heel at each quaver rest to avoid too romantic an upbeat start. With one extension on the E string, the movement can be executed in the first position. Variation 3, Allegro commodo in the Nelson edition, is in delightful contrast. The variation is characterised by leaping intervals, fun to negotiate and achieve, but needing flexibility in the bowing arm, and the bow must be kept close to each string to succeed. Even though in this edition the direction of poco martele seems to indicate playing in the upper half of the bow, further refinement could be reached by remaining near or below the middle. There are the usual ornamented cadences and dynamic structuring but, more than that, this is entertaining music, and could be the choice that would go some way to establish confidence at the start of the examination.

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A6 Veracini Largo e nobile: 1st movement, Sonata No. 1 in F (1716) from Veracini 12 Sonatas for Recorder/Flute/Violin, Vol. 1 (Peters)

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If your pupil enjoys a poised and proud start to the examination, then this is the movement to choose. Lasting only 17 brief bars, there is still ample opportunity to explore the characteristics of the early 18th-century style here. Keeping a fourin-a-bar feel will ensure the necessary directional flow, while enabling the part to be voiced by subtle fingerings, and the sequential rhythms to shape each phrase. There are helpful printed aids to the correct ornamentation of the period, as well as room for inclusion of further examples at cadence points.

ABRSM violin notes 2014-15 grades 4.indd 25

A few dynamic directions highlight the form. Bow strokes for the dotted rhythms will need to remain just below the middle and would benefit from a general flexibility in the hold to enable stylistic definition. Above all these technical demands, developing a distinctive aural imagination will help to augment the musical possibilities of this charming soprano aria.

B1 Beriot Melodie, Methode de violon, Op. 102, arr. Dezaire and von Rompaey

As one would expect from the pen of de Beriot, this is a beautifully crafted piece. Elegantly French in style, it encompasses much technical instruction under the umbrella of a romantically majestic melodic line. There is scope to develop full use of bow and vibrato over the more sustained notes, to deliver a constancy of tone throughout the phrasing, while the semiquaver passages can add contrast through crisp fingering and supportive bow weight. Staccato notes at the ends of certain phrases can be either martele, in the upper half of the bow, or spiccato and restrained to the balance point, depending on the player’s realisation. At this stage position work should be securely established so that the changes will not cause concern. There are a couple of harmonics indicated, surprisingly occurring in fortissimo passages: keeping the bow nearer the bridge could help projection in these instances. The dotted rhythms should remain distinctly contrasted from the ascending triplet scale – devising exercises with the support of the solid pulse of a metronome should help to iron out any anomalies. Finally, each dynamic level needs to be fully exploited so that the portrayal of this miniature showpiece really sparkles.

B2 Dvorˇák Scherzo: 3rd movement, Sonatina in G, Op. 100

As the Dvorak Sonatina remains part of the standard repertoire for players of around grades 4 to 5, this Scherzo will possibly be quite familiar to many pupils. Technically it does represent quite a challenge, but with the suggested metronome marking (rather ponderous for the Molto vivace direction) the player can hope to conquer its demands. Judicious placing of the bow and flexibility are paramount throughout. The tricky opening dance rhythms work best by keeping the bowing similar and below the middle in each of the terse comments, enabling the staccato crotchet to be neatly lifted, and the accented dotted minim to have sufficient kick. The subsequent bowing will then have to be changed, and one solution is to play up-bows in both the fifth and sixth bars of the phrasing so that the end is on a down-bow. Try to grade the dynamic level from the start unobtrusively, so the power of the forte in the quaver stringcrossing bars can be effective and fully enjoyed. The MUSICTEACHER

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ABRSM Violin Notes 2014–15 inclusion of the editorial slur at the end of each of bars 17–31 works well. Start the Trio on an up-bow for expressive effect, and aim to make the bulges in tone not only with speed of bow, but also with variation in the point of contact and weight, before attempting to add that more elusive vibrato support if possible. Play in the second position from bars 56–63, and from bar 74 to the end, so that the tone colour remains consistent. Choosing a fingering that keeps bars 64–74 on the G string may be difficult but will add to the necessary strength of projection, purpose, and character, especially if the bowing is kept in the lower half and the staccato notes are briskly lifted.

hand and a supporting clarification (subtle accent) from the bow. To define the structure in these bars, the couplet endings would benefit from a gentle release in pressure. Try working with different rhythms and accenting a variety of different beats to aid co-ordination of bow and left hand in the repeated notes of the final animato. Other than the crescendo towards the final chords, most of the phrases are simply and gently expressed. Keeping the tonal quality sufficiently light and fleeting, but with sufficient focus, will require a concentrated balance between bow weight, speed and tilt of the stick, as well as a well-developed aural appreciation of possible colour change.

B3 Mackay Ambleside from A Tuneful Introduction to the Third Position

B5 Kreisler Sicilienne from Sicilienne and Rigaudon (in the style of Francoeur) (published separately: Schott) or Fritz Kreisler Repertoire (vol. 1) (Schott)

Possibly the most approachable of the printed List B pieces, this is a tune that pulls at the heart strings. Redolent of the autumn colours of the Lake District in its tonal imagery, it flows beautifully along and, as one would expect from the writing of such a fastidious teacher, each phrase and string crossing has been specifically constructed so the learning of third position fingering is sugared and seemingly easy. The Ab major key could present a problem, but slow practice based on a sufficient aural response, and many incisive exercises taken from the rhythms within the work, could go a long way to overcoming any problems encountered. The bow should be returned nearer to the lower half at each crotchet rest so the phrasing enters without a bump. Careful control of the amount and speed of bow will enable the line to be supported, grow and subside within the dynamic levels presented. There is room at this pace for practice with a burgeoning vibrato in those pupils wishing to experience this polishing of tonal dimensions.

Alternative Pieces B4 Dancla Rondo (from Introduction and Rondo) No. 12 from Petite ecole de la melodie, Op. 123, Vol. 2 (Schott) or First Repertoire for Violin, arr. Cohen (Faber)

This is a delightful little compound duple Rondo in the key of D major: short, but perfect in its brevity. Finding a comfortable pace for the later semi-quaver passages will help with setting the initial tempo. The characteristic bulges in the melody which Dancla often employs are immediately evident in the opening theme. Control in bow speed, and small vibrato shimmers, if possible, need to be developed and used to promote conviction for this romantic shaping. The notes lie easily in the first position, but there is much 4th finger use, and a wealth of chromatic change in the contrasting semi-quaver runs that will need flexibility in the left

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ABRSM violin notes 2014-15 grades 4.indd 26

One of the 18 Classical Manuscripts for Violin and Piano uniquely composed by Kreisler as a superb enrichment to the violin repertory, this pastiche-style piece is supposedly based on the 18th-century style of Francois Francoeur. Certainly from the 16th to the 18th century the term ‘siciliana’ often referred to a dance commonly considered a slow gigue. Mainly in B minor, it is in 6/8, and characterised by clear two-bar phrases, each with a quaver up-beat. The swaying melody is simple. Lifting the bow slightly off the string after the quaver in the idiosyncratic dotted rhythms will aid stylistic persuasion. Try to use sequential repetition to colour and create interest, and develop an ear for the changes in harmony in the accompaniment, leaning into the string or favouring a note when chromaticism darkens the chord.

For further interest, realise the violin line from the directions in the piano part. There are times when the printed bowings seem rather out of date, such as the down-bow portato in bars 17 and 18, and this may be a time to change to separate bows or to a combination of ups and downs. The few grace notes require precise co-ordination. Experiment with fingerings that give a consistency of colour to the phrases: moving to a single note on a different string just for ease of use would seem out of place in such an expressive but charming number. Above all, aim to play from memory, with enjoyment and a sense of space.

B6 Thomas Gavotte (from Mignon) No. 9 from Suzuki Violin School, Vol. 2 (Alfred)

Anyone who has been through the Suzuki approach to violin playing will be pleased to see this inclusion. Having listened to the reference recordings they will be thoroughly knowledgeable with the intended style and sound, and will enjoy the delivery of such a cheerful work. Possibly the best known of Ambroise Thomas’s output, musicteachermagazine.co.uk

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it is an appealing melody supported by simple harmonization and has an unpretentious elegance.

In G major, it is a fine example of a Gavotte. This pastiche work has been fastidiously approached in this edition, and each quaver that needs that gentle Baroque distinction has been marked staccato.

Ornamentation has been explicitly written out in long-hand and descriptive dynamics have been added to provide the intended expression. There are some more tricky bars in the central development section where the occasional triplet, modulatory accidentals and string crossings could cause concern, but overall this is a piece that is worth exploring. Repetitive bowing patterns and thematic material minimise the amount to be mastered. Make the final G major pizzicato chords really buzz, and add vibrato after the pizzicato for full effect.

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Those of you who know Matthew’s Sixth Symphony will recognize this peaceful melody.

Written in 2007 in the Italian Dolomites (it is part of the Spectrum series) it paints a picture of an inspiring landscape. Full and measured use of the bow will help to capture the rolling contours of this expansive scene. Slow practice in each of the semi-quaver passages, and much repetition, will enable secure finger placing across the accidentals and support eventual fluency in these bars. Working with a metronome, initially by clapping the compound rhythms, then by playing them on open strings before attempting the actual allotted pitch, will benefit security through even the unexpected syncopations and duplets. There a few 5ths which may need adroit finger placing to enable a smooth string crossing, and there is room for experimentation with the speed and weight of the bow to bring out an expressive realisation of each dynamic level. Aim to sustain the final dotted minim ‘al niente’ for full effect and persuasion.

C2 Norton King Boogie: No. 6 from The Christopher Norton Concert Collection for Violin

This is fun piece loosely based on the carol Good King Wenceslas, and one that many pupils would wish to tackle. But there are drawbacks, and the biggest of these is probably that the style will not be as instinctively understood as, say, a Baroque gavotte. It does seem more complicated at first reading. However, this should not deter the brave. Listening to examples of jazz violin by such masters as Grapelli, and creating exercises that develop security in the idiom, can go a long way to overcoming any concerns. Mainly in D major, and in shuffle style (swung quavers rather than even), a solid pulse must first be set and then maintained.

The character comes from the slides, the off-beat accents, the exact note lengths (staccato versus legato) and realisation of the ever-changing colour musicteachermagazine.co.uk

ABRSM violin notes 2014-15 grades 4.indd 27

rather than manipulation or inconsistencies in the tempo. The bowing will have to be supremely flexible for a full appreciation of the style. A player who is fully conversant with position work and has an instinctive knowledge of note placing (there are naturally many blues notes) will find this more rewarding than one who is still uneasy in these areas. But this a rewarding work to tackle.

C3 Trad. Klezmer Congratulations to the Bridegroom and Bride, arr. Cravitz

This is another fun piece, but perhaps somewhat more straightforward than the previous example.

It too requires a strong unmoving pulse to flourish.

The melody is modal and certain elements of the jazz tradition are also found here: syncopation and sliding between intervals occur within its more visible four crotchets to the bar. Control in both third and fourth positions will aid the clarity of the line in the higher spheres: keeping the bow slightly nearer the bridge in these bars will add refinement to the tone. Variation is a characteristic element of klezmer music and re-inventing the ‘da capo’ with further ornamentation will add conviction. This is a chance to experiment with authentic sounds and ploys. Playing below the middle of the bow could benefit and define the changes to the melody in bars 19 and 20. Physically breathing while subtly lifting the bow from the string at the commas marked in bars 14, 20 and 22b will help to define them.

Accents and changes in dynamic colour need to be clearly depicted and the more expressive chromatic passages must be indulged. Finally, work at a graded and effective diminuendo to bring this spirited piece to a close.

Alternative Pieces C4 Kabalevsky Scherzo, arr. Sorokin, No. 18 from Kabalevsky Album Pieces (Peters)

This charming, swirling waltz-like piece is surely rather tongue-in-cheek. The ‘scherzando’ direction implies an impish quality. To be played ‘leggiero’ and with a ceiling dynamic of mezzo piano, it is a fleeting memory of memorable times past. The final pizzicato B minor chord makes it all disappear in a puff of smoke. The notes are within the reach of the Grade 4 player (only the final phrase requires third position), but capturing that disingenuous effervescence may prove more difficult. A studied lightening of the bow hold, and using only half the hair through tilting the bow stick away, will help in this respect. Bow division is most important in the opening bars: using most of its length for the initial dotted rhythm, and a lesser amount for the separate quavers, would have the best effect. Flying spiccato should stay securely within the lower half.

Remembering the steps of the waltz will help to MUSICTEACHER

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ABRSM Violin Notes 2014–15 shape the phrases. Chromatic passages could prove a stumbling block but there is much repetition here and with a ‘modern’ fingering (not a sliding fingering) that moves between first and half position in bars 21 to 28 even these bars will become crystal clear. Gradually increasing the length of the bow stroke to support the slowing of the ‘poco rit’ bars will magnify the effect. The tempo must however be maintained in the final descending arpeggio, and co-ordination of that gentle last chord must be perfected by good ensemble contact.

C5 Trad. Bosnian The Sultan’s Throne (violin melody) from Sevdah, arr. Huws Jones and Velagic (Boosey and Hawkes)

Sevdah is the traditional music of the towns and cities of Bosnia. Huws Jones states in his preface, ‘As a musical language it is exotic, passionate, but immediately accessible’. This short piece is based on the tale of a young vizier who visits the Sultan’s harem and thus incurs the wrath of the Sultan. The music tells the tale with a suitably Turkish orientation, mainly in D major but with some augmented 2nds to add nationalistic flavour to the melody, while the arranged accompaniment encapsulates the sounds of the usual line up of accordion, guitar and drums. The piece is in ternary form, with the opening Introduction and final rejoicing dance at a faster pace than the middle Verse. Knowledge of the poem (printed in the copy) and an imaginative understanding of the issues will enable each pause and ornament to be clearly depicted here: the player needs to feel the emotions of the protagonists to play with the required expression and purposeful timing. Creating a sufficiently exposed wait at the only comma will intensify the argument (the vizier is pleading his case). Off-beat entries in the dance could prove

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ABRSM violin notes 2014-15 grades 4.indd 28

tricky, but a quick sniff or stamp of the foot on the first beat of the bar should provide the needed rhythmic impetus. No dynamic direction is printed, so experiment with a wide spectrum of colour, texture and shape to paint a convincing story.

C6 Wedgwood Falling from After Hours – Violin (Faber)

A slow and expressive piece, this is a work that is ideally suited to a pupil with a balanced legato bowing technique and a burgeoning vibrato.

Generally in D major, but using accidentals to colour certain bars without actually modulating to a different key, the long phrases could prove difficult to sustain. Dynamic contours are repetitive, requiring a player with a wish to experiment with the needed variation of expression. But it has an entrancing effect on the listener, and is worth sustained scrutiny of its gentle possibilities. The melody has been fingered and bowed with a keen understanding of violin geography, although depending on the interpretation there are places where an alternative fingering might prove more successful. Certainly, flexibility in the left-hand shape and movement will be necessary to cope with the many changes of position: exercises in instant recognition of second and third position and security in finger placing will help here. String crossings within the short, slurred semi-quaver runs could cause co-ordinational problems. Advance lifting of the right upper arm would go some way to avoid these. Tied notes will need to be held fulllength, carefully counted and shaped. This is a piece that grows on the player, so learning it early in the year, leaving it to mature, then returning to it at a later date when technical skills have increased could show dividends.

musicteachermagazine.co.uk

14/02/2014 09:29:38

GRADE 5

Grade 5 A1 Corelli Corrente: 2nd movement from Sonata in D minor, Op. 5 No. 7

If Corrente means a ‘running’ movement then the metronome marking suggested for this Baroque item seems a trifle too restrained. It enables the pupil to secure the notes but deflects from the necessary buoyancy and direction. The practising schedule could slowly increase the crotchet pulse to 138 which would help the pace to flow, but at the same time retain a sense of stylistic poise. In the key of D minor, the first 34 bars lie, with one extension, in the first position. Keep the bow mainly below the middle so the disjunct quavers can be stylistically lifted whilst the conjunct quavers can be smoother.

This will help to shape the phrases, adding interest to what could otherwise become a dull étude-like approach. Ascending sequences need to grow in tonal interest and descending ones decrease. Triplet figuration can be more expressive. Trills should start with a lean of bow into the upper auxiliary. The wide leaps across the strings in bars 5 and 7 will need a conscious right arm preparation before the event so each one is clearly executed. The bariolage bowing in bars 22 to 26 sounds best if the E remains as an open string: a flexible wrist movement rather than a weighty whole arm action will benefit the outcome.

The second section poses more of a problem.

The necessary higher position work demands a slightly closer point of contact to the bridge, while the string crossing in bars 45 to 47 will need a sustained and strong left-hand finger pressure. The tricky descending passage from bar 61 demands a precise co-ordination: accent different quavers in slow practice to emphasize clarity in string crossing and employ double-stops wherever possible – both intonation and co-ordination will benefit. Careful voicing will add interest here. Aim to lift the bow after each of the couplets and before the final note in each section for stylistic effect.

A2 Handel Allegro: 4th movement from Sonata in A, HWV 361, Op. 1, No. 3

A compound quadruple work in A major, Handel ‘borrowed’ this Allegro from his recorder sonata in B flat, revising it in the process. Reminiscent of a jolly hunting scene in character, the suggested pace could again be slowly increased as the notes become more familiar, to a speed of dotted crotchet = 100. There are no real surprises here but the direction must never be compromised. Keep the bow over the balance point in the compound quaver passages so the final note of the couplet and the single quaver remain equally brisk and lifted off the string, while the ascending ‘diddle-um’ rhythm in bars 9–10, and 30–31 should always be detached

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ABRSM violin notes 2014-15 grades 5.indd 29

from the following tied note (which does not have to held full length: a subtle breath is more stylistic and effective). Although it would be easier to play bars 13–14, 27–28 and 33–34 as separate bows, sticking to the tucked-in ‘down, down, down, up, up, up’ is far more stylistic. Start rehearsing it slowly, thinking of a miniscule half-moon shape, flexing all finger joints, keeping in the lower half, and gradually getting louder for full effect. Position work after the double bar suddenly becomes much more demanding, but not impossible at this stage.

Why not start learning the piece at this point? Play with precision of bow length, control of weight and balance in string crossing and repeat each half bar many times before moving on. Aim to leave the fingers down on the string wherever possible to give guidance in the highest positions, and use the sequential progressions to shape the phrases.

A3 Telemann Andante: 1st movement from Sonata in F, TWV 41:F4

Although in the warm pastoral key of F major, this is possibly the hardest of the printed A List album pieces, but well worth every effort. The beautiful, florid cantabile melody, so reminiscent of an aria, needs a secure knowledge of the fingerboard and a supportive flexibility in bow and left-hand technique to succeed. Keeping an alert ear on the gently pulsating quaver bass line will not only help towards a rhythmic delivery but ensure persuasive shaping through harmonic understanding.

Ascending and descending sequences need to be milked for their expressive worth, while tied notes can be allowed to mellow and even be gently separated from the following passage. Try to differentiate between the smoother conjunct intervals and the more detached disjunct ones for melodic articulation, keeping the bow mainly in the lower half, and weight the trills from the upper auxiliary. The dynamics are editorial but they are stylistically instructive. The bowing over the triplets in the final phrase works best if it can be restrained to below the middle.

Alternative Pieces A4 Albinoni Allegro: 4th movement from Sonata in D minor, Op. 6 No. 4 from Albinoni Trattenimenti armonici per camera, Op. 6, Sonatas 1–4 (Kunzelmann or European Music Archive)

This is a really delightful movement. However, it does seem as though the metronome suggestion is too frantic for a baroque Allegro – if taken at the advocated pace, not only is stylistic poise forfeited, but passages could become unrecognizable and rhythms indistinct. Forward momentum must be acknowledged but not at the expense of clarity. It is worth reading the editorial preface in this edition MUSICTEACHER

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ABRSM Violin Notes 2014–15 so the teacher/pupil can make valid judgements about how to proceed. Generally, alterations occur in bowing and dynamic markings. I suggest maintaining the original rather than the more ‘modern’ suggestions. (The difference in editorial ink depth is rather hard to discern, however.) Try taking each group of four semiquavers on a downbow, and tucking the subsequent two quavers into up-bows. Lift the bow subtly off the string before placing the final chord of each ‘half,’ spreading the notes judiciously. Couplets should be lightly detached and the melodic line more projected and shaped than the pedal note (as in bar 2 or 25). Keep the bow generally below the middle and bring out the various ‘voices’ through gentle inflection. Above all, enjoy playing it!

A5 Bach Bouree I and II (from BWV 1009) No. 7 from Suzuki Violin School, Vol. 3 (AlfredSummy-Birchard)

Included for Suzuki followers (and, of course, any others) are these two well-known spirited dance movements. I suppose it is for the sake of brevity that the da capo, the return of the G major Bouree, is not to be played in the exam. The ending remains unresolved as a result and could dissuade some players from attempting this choice. As a reworking of movements of the cello sonata it does allow access to the youngest aspiring violinist, but the purist may shudder at the altered pitch, bowings, and dynamic inclusions. Yet viewed as suggestions towards the accepted style, these clearly printed movements go some way towards an authentic approach. It could perhaps also be annoying to notice that every note is fingered, especially at this intermediary stage. Couplets should be lightly defined and other slurs gently perceptible, with the final dotted minim distinctly placed.

A6 Vivaldi Largo: 2nd movement from Concerto in F minor, ‘L’inverno’ (Winter), Op. 8, No. 4. RV 297 from Vivaldi: The Four Seasons (Bärenreiter) or Sheila M. Nelson’s Baroque Violinist (Boosey & Hawkes)

Due to its familiarity, its brevity, pleasant pace and its seemingly undemanding melodic line, this short concerto movement could possibly prove popular as a List A choice. At this point in the painting of the Seasons the player needs to capture the ‘days of calm and contentment by the fireside while the rain outside drenches a hundred others’.

An even tonal delivery through bow weighting and shaped phrase endings will benefit stylistic persuasion. The key of Eb major could prove a stumbling block with the necessary 4th finger use.

Try different exercises to strengthen its application, such as those found in the Schradieck School of Violin Technique, Book 1. Play the scale to each of the rhythms of bars 1, 5, and 14, ascending and

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descending, to aid both bow balance and key development. Extra care will need to be taken on the return of the up-bow in bars 5 and 6 so the ascending passage remains graded, with the longer notes more prominent, and the voicing suitably inflected. Aim to balance the ratio of bow weight, speed and point of contact so the line expands subtly but compellingly. Extended embellishments are the responsibility of the performer in Vivaldi’s music and this passage lends itself to enjoyable experimentation. Quavers should be slightly detached and couplets (bar 2) gently defined. Favour the upper auxiliary in the trills, and aim to play the final tied Eb on one slow down-bow. Above all, listen to recordings by both Baroque specialists and non-specialists so a sense of judgement regarding performance practices can start to develop.

B1 Carse Gavotte

As one might expect from the pen of Adam Carse, this is a real winner of a piece. But it is a surprising choice for what we have been led to understand is the Romantic list, for the work is written in the style of an 18th-century dance form. Maybe its inclusion relies on the fact that it was first published in the early 20th century. Whatever the reason, it is compelling music. The outer sections are in the key of D major, while the trio, beginning as a Musette with drone, is mainly in the complimentary one of D minor. The violin part has been edited by Mary Cohen so everything lies well, but there is naturally scope for alternatives in both bowing and fingering to suit the individual, while remaining true to the phrasing. Most of the melody in the Gavotte is in first position, but the use of third position will enable further contrast in the quieter passages. The occasional harmonic will require careful placing.

The mordents work best if played slightly before the beat: aim to practise these slowly, removing them from the melody, maintaining an even weight across both notes and giving a small accent with the bow.

Moving the left thumb slightly higher up the neck can also aid clarity. In performance aim to play the graces with less bow speed and weight than the more important melodic line. Keep the staccato notes below the middle of the bow, and lift the bow off the string at the end of each couplet. A change of bowing in bar 32 of the Trio could augment the phrasing here. Tucking in the two quavers, but in a subdued, brushed way, to support the key change will allow the start of bar 34 to arrive on a stylistic down-bow. After that, a re-take in the middle of that bar and further tuck-ins on each of the subsequent quavers can be applied. Keeping sufficient weight in the bow and a high point of contact will help the harmonics to ring out with characteristic bravura at the ends of the final two phrases. Further embellishment would augment stylistic conviction in the da capo section. musicteachermagazine.co.uk

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GRADE 5 B2 Rieding Pastorale, Op. 23 No. 1

In the pastoral key of F major, this is an item from one of the shorter sets of educational pieces written

by Oscar Rieding. Suiting a pupil who has developed a secure tonal projection and a supportive vibrato, there is scope for an imaginative use of the bow through each dynamic contour of this romantically inspired work. Using no note length shorter than a quaver and none longer than a dotted minim, the player will find no tricky passages which might upset their performance. The difficulties lie in maintaining interest through sufficient alterations in tonal colour: each dynamic mark will need to be fully explored and emphasized. Changes in bow length and point of contact will help to shape the couplets from bar 37 in the ‘piu mosso’ section, and slight stops in direction bring out sufficient bite in the accents in bar 65. Tranquility could be restored by a lighter but even bow speed for the very last phrase.

B3 Dancla Petit air varie, No. 7 from Petite ecole de la melodie, Op. 123, Book 2

Another educational number, but this is a much more satisfying piece to play than the previous work.

Charles Dancla had a marvellous way with melody and an ingenious approach to instilling technical skills through his method. He would cocoon the needed technical ‘medicine’ in a superbly sugary melodic coating, never spending long on each aspect, so through the understanding of the style the method of achieving it was internalised. In the vibrant key of G major, such a gift for the violinist, this particular air opens with a triumphant flourish.

Keep the bow at the heel and firmly on the string between the semi-quaver and the crotchet for best effect: flexible right hand finger movement is a must. The following cantante passage could start in the third position but would then necessitate a rather awkward change to the first position halfway through the bar. Otherwise, ‘nurse’ the first finger F sharp with a lighter bow hold, gentle vibrato, and use a balanced sweep to support each of the longer phrases, leaning into the string and moving momentarily nearer the bridge to project the heartfelt shaping in bars 6 and 7. The dotted rhythms in bars 9–12 should be constantly legato: do not stop the bow’s flow here, and grade the pace into the pause. Dancla, ever aware of the pupil’s standard, suggested an alternative to the final harmonic – an explanation can be found in the footnote to the printed copy. The Theme is beautifully crafted, posing no real problems at this stage. Vibrato and differing bow speed will help to direct the necessary flow. The tempo should move forward in the Variation, where dotted rhythms can be played as triplets and the starts of phrases (the final beat of bar 38, for instance) need to be exposed. The editorial suggestion is to keep many of the bars relatively quiet, only building to musicteachermagazine.co.uk

ABRSM violin notes 2014-15 grades 5.indd 31

a resounding forte for the arpeggiated bars at the end. A ‘modern’ fingering needs to be found for the chromatic passages from bar 55 – ‘slipping’ fingering will not have sufficient clarity here, and the flying spiccato (bars 61 and 62) should remain at the balance point. It is a relief to read that, for the purposes of this exam, the direction marcato e punta arco in the last ascending passage is optional.

Alternative Pieces B4 Dvorˇák Valse, Op. 54 No. 4. No. 7 from Universal Violin Album, Vol.3, arr. Kolman (Universal)

Although at first glance this waltz seems simple enough, it becomes increasingly tricky. Technical demands and passing modulatory keys which place it outside those covered in the Grade 5 syllabus mean only the supremely confident player will be able to tackle this appealing item. The opening bars are unaccompanied, and because of the complexity of subsequent passage work, the tempo will need to be finely judged: a keen aural appreciation is a necessity here. However, because of the repetition, if the demanding technical skills can be mastered this is a satisfying piece to perform, albeit one of the more complicated in the list. Accents require a quick downward pressure of the bow rather than a lengthier stroke, supported by a quickening of the vibrato if possible, while the staccato crotchets will be more precise if formed through a retake of bow rather than a ‘travelling’ stroke. The con fuoco tranquillo bars should be practised slowly, at the same tempo initially to secure the intonation, before the changes in pace can be introduced and the character explored. Subtle fingering will help promote the expressiveness of the tranquillo bars. It is from this section that technical demands start to over-reach the grade. Chord placing and intricate keys could tax all but the most secure player. This is, however, only momentary, and, as long as the pupil enjoys a real challenge and can sustain concentration, the final section employs much that has previously been undertaken.

B5 Pleyel Andante: from Sonatina in B flat, Op. 48 No. 4 from First Repertoire for Violin, arr.

Cohen (Faber)

This is another piece that seems to have strayed out of its era into the more Romantic confines of List B. It is a charming aria-like Andante, which may warrant its placing here. Maintaining a sense of two-in-the-bar will ensure sufficient direction to the phrases. A keen ear for ensemble is imperative throughout: there are passages where the violin plays an accompanying role to the melody, and others where the contrapuntal style needs to be carefully balanced with three other voices. Working MUSICTEACHER

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ABRSM Violin Notes 2014–15 with an awareness of the piano accompaniment from the start will help to encourage this aspect.

The springing rhythm, first encountered in the opening theme, can either be tucked in or played as re-takes at the heel depending on the ability of the pupil. The second option, although more taxing, would seem more stylistically viable. Chromatic semiquaver passages can then be contrasted and gently expressive. As a counter-subject or a delicate melody in their own right, the demi-semi quavers will need only the lightest of touches. Couplets should be distinctly lifted and the staccato notes played over the balance point. To benefit dynamic distinction in the final section, practise by stopping before each change, conscientiously altering the bow weight and gradually reducing the break between pauses until a continuity in pace and clarity in colour is achieved.

B6 Reger Romanze in G (Breitkopf & Haertel) This jewel of a piece lasts all of 30 bars and was originally written as a supplement to the Neue Musik-Zeitung. Highly romantic in style, it will require a keen eye for the constant changes in detail, a secure knowledge of position work, and flexibility in position changing. Directional markings cover every bar. Full use of the bow and control in speed and division of the stroke will help in the interpretation of the character. To exploit its potential, fingerings will need to be carefully selected. Counting initially in six quavers to the bar – rather than the more conventional two dotted crotchets – will help towards rhythmic security in ensemble work: there are bars where the violin part is divided into three crotchets, even though the accompaniment remains in duple time. As the notes and rhythms become more familiar, the pulse should return to a duple beat and the more off-beat three crotchets used to push the direction and augment the excitement. A pupil who has a developed tonal spectrum and a vibrant vibrato should fare best.

C1 Brian Chapple For Latin Lovers

This is a great little number. The rhythm and the gently parodied style of the Latin-American Tango draw the listener in to its charms. Set at a relaxed pace, the bow should remain generally below the middle – it will aid rhythmic security, clarity of accents and a brisk staccato. Lines under the notes also need careful appreciation, sometimes as agogic accents, as in bar 6, and at other times as expressive weighting of the tone as in bar 4 or 9. Aim to introduce vibrato over the more sustained notes so the tone is constantly polished, and start the semiquaver-crotchet rhythm on a down-bow even if it necessitates a re-take. Although the dynamic is lessened, relish the change into E major. Make certain the bow is stopped between the accented crotchet and the staccato quaver in bars 35, 37

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ABRSM violin notes 2014-15 grades 5.indd 32

and 39, and start the final piu forte on a downbow with the quaver on an up. For an especially exciting ending the final chord could be pizzicato, but whichever choice is made, listen for the piano semiquaver so the ensemble is together.

C2 Kadosa Slow and Fast

For the pupil with an excellent aural ability who enjoys the more modern, this piece should present no problems. It is named after the two main sections of a traditional Hungarian recruiting dance, and uses the semitone dissonance to almost percussive effect. Keeping the fingers down on the string wherever possible will help with pitching the intonation in the sadder opening section: try singing the melody to perfect the tuning, and define the couplet to preserve stylist shape. Folk-like in its repetitive manner and buoyant rhythms, the Allegro will need a strongly contrasted colour. Try to keep the staccato notes over the balance point and briskly lifted for full effect, detach the couplets and enjoy the sudden changes in dynamic at the forte/ piano bars, building through lengthening quavers for effective crescendos. Keep something in reserve in the forte phrases so the fortissimo bars can be played impressively vibrantly. Exercises in half and second positions should help with security in finger placing and exact intonation. In the penultimate bar, wait sufficiently for all the sound to calm down before leading in the bravura ending.

C3 Trad. Greek Kozanis, arr. Huws Jones

An exciting and driven folk tune named after the city of Kozanis in northern Greece. The 7/8 metre, divided into 3+2+2 and based on the structure of syllables in the Greek language, needs a decisive bowing style. Start to approach this rhythm slowly, perhaps internalising words that match, using open strings, and gradually increasing the speed (still on open strings) before working with the given melody.

Aim to keep below the middle of the bow, lifting the staccato notes briskly and augmenting the tone at the underscored crotchets. The double stopped sections use open strings as the drone, first the A and in later bars the E. Work on the melodic line first before introducing the drone, dividing the weight of the bow between the two notes, but favouring the moving part to keep it distinct. There are no position changes to master – it can be played throughout in first position – but this arrangement does modulate through different keys and thus extra care needs to be taken to learn the correct finger positions and to pitch the augmented intervals securely and expressively. Slow, repetitive practice in small amounts, realising all dynamic changes, will allow an eventual performance with the desired spirit.

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Alternative Pieces C4 Perlman Hora-Hatikva: 1st movement from Israeli Concertino (De Haske)

A vivacious first movement to the beautifully constructed concertino by George Perlman (a dedicated teacher who died in 2000 at the age of 103), this could be a rewarding finale to the chosen pieces. The playing would certainly go out with a decided flourish. Based on two melodies – the Hora, a circle dance originating in the Balkans, and the Hatikvah (Jerusalem of Gold), the Israeli National Anthem – it initially presents few problems. The quaver rest at the beginnings of bars will have to be realised incisively, perhaps with a sniff or stamp of the foot to help. Accents will need precision, staccato passages contrast, the augmented seconds indulged and idiomatic slides enjoyed, but these are part of the soul of the piece, and with imagination all can be convincing at this level. There are many possibilities for fingerings which will colour the vigour of the dance and the yearning soul of the Hatikva. Listen to various recordings on YouTube, especially Daniel Ashariel’s, for inspiration. It is in the final codetta section, on the return of the Hora, that an augmented technique will have to be exercised, but with slow practice even this will quickly become equally confident. A more concentrated melodic line, increased volume, security in string crossing, and co-ordination in the repeated semiquaver figure are followed by chords that build excitingly towards the last low A. Remember to make this final utterance especially crisp.

C5 Szelenyi Little Rhapsody, No. 12 from 24 Easy Little Concert Pieces, Vol. 1 (Editio Musica Budapest)

This short, direct piece would be a commendable final inclusion in the exam programme, especially if the other examples have tended towards greater length. Not too demanding in terms of position changing or tempo, it could suit a pupil who has perfected the art of tonal projection and contrast.

In three sections, with a diminutive coda, it is a masterpiece of invention based on the repetitive phrases, rhythms and sequences of Hungarian folk music. A strong sense of pulse, and comparative

pacing, plus control of bow length and division, will aid the underlying character. Appreciation of every change in dynamic colour will enable persuasive shaping. Divide the bow carefully in the final fortissimo chords, placing the 6ths nearer the bridge with full bow hair, and stroking the open strings with a small length of bow. Lift the bow back towards the heel for the final Gs, and for full effect vibrate on the G an octave above.

C6 Wood Bagatelle from Spectrum for Violin: 16 Contemporary pieces (ABRSM)

Part of the Spectrum collection of contemporary pieces, and subtly ‘modern’ in its conception, this work would be a fitting finale, providing a suitable balance to the List A and B pieces. The key focus is D major, only 36 bars in length – full of rhythmic and dynamic challenges, it keeps both players and listener involved throughout. As the composer Hugh Wood states, ‘the ability to switch from a lyrical passage to a more vigorous one ... needs a very light touch’. One way to achieve rhythmic success (time signatures change between 5/8, 3/8, 6/8, and 3/4) would be to repeat small amounts and practise slowly, the metronome set at a quaver pulse, until an internal recognition of the idiom is certain. Imagination and a preconceived idea of the necessary tonal changes would also help.

Suitable fingerings will have to be found to secure accuracy across each accidental. The pizzicato D octaves, reminiscent of temple bells, that cocoon the intervening bars need sufficient ‘ping’ to allow them to ring effectively. Vibrato after the right-hand action will aid resonance. On the CD, Alexandra Wood plays the quaver passages as gently separated, but there could be a case here for performing these with a more legato bowing and thus creating a distinct contrast to the staccato notes in the piano part. Balancing the proportion of bow speed, weight and application will reflect an understanding of the separate characters of each of the lirico passages. Slightly stopping before, and regulating the length and weight of the bow for, the final staccato quaver in bars 21 to 24 will aid phrasing clarity. This is a gem of a piece, and in its brevity and compositional quality one that it is well worth investigating.

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Guides_F

GRADE 6

Grade 6 A1 Foulis Allegro Moderato: 3rd movement from Sonata No. 2 in F

Written in the Pre-Classical style, this attractive piece has the character of a Minuet and is stylistically edited to aid a convincing performance.

Like the other works in the exam book it is two pages long. Written in F major, there are easy shifts between first and third position that will need to be discreet. This will suit a diligent musician with warm tone and good phrasing is crucial. The limited dynamics ( f ) suggest an extrovert approach, but bowings and dynamics will need to be added to help the music flow along easily. There is a minor section that adds contrast and, although the suggested ornaments can be altered, the musical lines need to keep flowing in this quick pace. The semiquavers in bar 13 and similar passages are easily incorporated if played as the final part of a triplet. The piano part joins in on the second beat, so violinists need to be brave! No repeats are necessary in the exam and this movement would be robust under pressure once mastered.

A2 Stamitz Minuetto: 3rd movement from Sonata in D, Op. 6 No. 5

This Minuetto is a refined work and would reward an experienced performer or mature student. In D Major, the musical lines sing along with charm but it looks deceptively easy. The piano part offers harmonic support but there are rests on some of the awkward violin beats. Intonation and tone need to be precise and there are some tricky string crossings where the slurs will need a relaxed and flexible bow arm. A good left-hand position and experience in second position would be useful, but you can get around it with just first and third and a little 4th finger extending. Bowing can easily be altered to create the dance-like feel (for example, down, up, up in bars 1 and 3), and in the Minore section there are triplets under slurs with each note on a different string. It is advisable to change the bowing so the string crossings are the same each time despite the various dynamics. It is worth being alert to the bow division possibilities so quavers don’t stick out.

Instead of the usual DC, there is an Altro section that is a short and different minuet in the original key – three easy lines to finish with style.

A3 Veracini Giga: 3rd movement from the Sonata Academica in E minor, Op. 2 No. 8

This is a familiar movement and is always popular. Like the Foulis, it stands up well even under pressure and has a good sense of momentum. In 6/8, it needs lifted bows in the lower half for the triplets and is effectively contrasted with occasional

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ABRSM violin notes 2014-15 grades 6.indd 35

full bows on the dotted crotchets. The loose quavers at the ends of bars can be hooked in to keep the phrases flowing. As in all baroque pieces, tonal contrasts and shading would need to be added, although there are a few stark contrasts included in this informed edition. There are few high notes, but there are necessary shifts to third position for the trills at the end of both halves and to limit the string crossings under the triplet slurs. Mordents instead of trills will be effective at a brisk pace, and convincing crescendos will distract.

A4 Handel Allegro: 2nd movement,Sonata in D minor, HWV 359a from Handel Complete Works for Violin and Basso Continuo (Bärenreiter)

This is a familiar work to many and its attractive harmonies make for a charming movement. The quavers are best played with a detached articulation in the upper half of the bow with emphasis on the second note in the group of three, while the semiquavers can also be on the string but legato in quality – both require shaping. It may be useful to work on these elements with scales first, as the stark contrasts in bowing may be new at this level. As always, dynamics should be added extensively, and varying the bow length, while keeping the core tone, is useful to create the style. A moving tempo without any sense of anxiety at the start is sometimes hard to achieve as it begins in quavers, but looking ahead at the longer semiquaver passages is a good place to choose the speed. There are opportunities for ornaments and variation with slurs on repeated phrases, but reliable intonation and a sense of poise will demonstrate a stylistic awareness.

A5 McGibbon Largo and Allegro: 1st and 2nd movements, Sonata No. 3 in E minor from Orpheus Caledonius, Vol. 1 (Hardie Press)

William McGibbon (c. 1695–1756) was one of the most talented composers and violinists of the Scottish Baroque period. This sonata is taken from his 1740 set Six Sonatas and is edited effectively

by Peter Holman. The music is very attractive and the contrast of movements an excellent learning experience. Both movements are primarily in first position (although some third will limit the extensions), but there is just one corner where third is necessary. The Largo is in a flowing four beats to a bar and the semiquavers (and one beat with demisemiquavers) fall easily under the hand. There are opportunities for extra ornaments and creating an improvised feel when the piece is familiar.

Shaping and dynamics will need to be added extensively in both movements. The Allegro is equally engaging, and the quick trills can be converted to mordents at the split common tempo. Bowing is worth consideration and upbeats need to be shorter and lighter in tone than the main beats. This is best achieved on up-bows, but it does necessitate MUSICTEACHER

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ABRSM Violin Notes 2014–15 some complicated bowings – for example, starting on an up-bow and then playing the C in bar 2 on an extra up, to lighten it and emphasize the third beat. It is worth the extra effort to help the music have a dance-like quality and keep it moving along.

Crotchets at the end of both sections are best shortened with minimal vibrato to create a stylistic feel. It’s always lovely to teach something less familiar: this is not complicated musically, and the piano realization not too challenging.

A6 Vivaldi Preludio-Largo: 1st movement, Sonata in A minor, Op. 2 No. 12 from Vivaldi 12 Sonatas, Op. 2, Vol. 2 (Schott)

This is a flowing movement that relies on musical shaping and particular attention to phrase endings for success. The bowing looks straight-forward, but the middle beats will need to be lightened and the pulse set carefully so the direction of the phrases is clear and doesn’t have unwanted bulges. A little vibrato to warm the tone is useful but not necessary in this idiom. Trills are best played with shape while starting on a long upper note (for example, in bar 1, I often divide the dotted quaver trill into three elements: upper note, trill, and lower note). Playing with most weight and bow speed on the first F creates just the right touch for a stylistically aware ornament. There are a few corners where position changes will keep the figures on one string and therefore more legato, but mostly the movement is in first or third position.

B1 Brahms Hungarian Dance, Book 1 No. 5, arr. Forbes

An experienced performer will love this extrovert piece. It is full of vitality and passion, with an extensive rubato section in the second half. Time with the accompanist and the ability to lead from the violin will be essential to convey the idiom.

Often played as an encore, this is an excellent concert piece and a competition winner in the right hands. The first section is in G minor and needs full tone on the G string in third position. Good position changing, vibrato and a little spiccato will contribute to a convincing performance. A wide vibrato is good on the lower strings to help project the melody. A G minor three-part chord appears several times, but there is time to find it. The second page gives many opportunities for expression and the stark tonal contrasts are exciting. The middle G major section is mostly double-stopped with open strings, so it sounds highly effective with limited technical effort.

Quick bars alternate with ‘rit’ bars and ensemble is crucial. A good left-hand position is useful for the broken octave bars but they lie easily and are repeated. The piano part is not too difficult and the double stops can be simplified as long as the momentum is maintained. A real show-stopper in flamboyant hands.

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ABRSM violin notes 2014-15 grades 6.indd 36

B2 Ireland Bagatelle

This is a charming piece, and would be excellent for a very musical student whose bowing arm is more advanced than their left fingers. Mostly in G major and first position, the music relies on considered bow division to give it an elegant and flowing appeal. Lifted and light bows are needed near the heel to energize the staccato quavers at the end of several bars, so a tilted bow will help increase the bow speed and tone. There are a few shifts to third position with some octave harmonics, but the lower line in the two double-stopped bars is optional. The G minor section in the middle is a little quicker than the original tempo, and the bowing can be easily changed to avoid the few awkward string crossings under slurs. On the final line, consider doing a sneaky down-bow on the D before the long note to put yourself at the heel for precision pizzicati. It is worth checking the overall dynamic with the piano here, as pizzicati doesn’t project as well as Arco notes. It is very tuneful even without the relatively straightforward piano part, so students (and parents) will find it gratifying to hear solo.

B3 Schumann Zart und mit Ausdruck: No. 1 from Fantasiestucke, Op. 73

This was originally a piece for clarinet and piano, so listening to all movements in its original version will give context and clear understanding of the importance of breathing and therefore legato bow control. ‘Delicately and with expression’ is the title for this fantasy piece, and it is glorious in musically mature hands – a work of real stature in our repertoire. The other two movements are included in Grades 7 and 8, so investing in the book now would be prudent. The piano part has pages of flowing triplets so the accompanist might appreciate the music well in advance, and a keen ear is needed for ensemble and balance. Although the notes don’t look too hard on the page for the violinist, this movement is all about tone colours and production.

Clear sostenuto with shaping will be a prerequisite and exercises to vary the point of contact and bow and vibrato speed under long slurs will be helpful.

Playing the piece without vibrato initially to clarify the shaping of the bow and then adding vibrato for colour usually gets just the right effect. Slow slides and good shifting at this moving pace are needed.

Adding words to the opening piano and violin phrases help with the violin entry and bring a sense of momentum from the start, otherwise it is easy for the piece to become a little static and not truly take off. The diligent and passionate student will be duly rewarded in this magnificent movement.

B4 Debussy En bateau (from Petite Suite), trans. Choisnel (Durand)

This is a beautiful melody and it’s great to have a good transcription for us violinists. The original musicteachermagazine.co.uk

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GRADE 6 is for four hands on piano and it would be useful to research this version to gain perspective on the idiom. A player will need warm tone and good legato to keep the long lines sustained through the bow changes. The opening is marked pp, so this is not for the nervous performer! The level is best achieved with a very tilted bow, over the fingerboard and with a little vibrato. Holding the violin strongly with the jaw is useful to stop the violin moving and breathing out before the bow is placed on the string will aid the gentle contact. It is, after all, a ‘solo’ pianissimo, so thinking about the character rather than volume will add clarity. The bowings can be altered to create smoother lines – for example, adding a slur in bar 2. There are a few high notes that will need a good fingering, and the suggested high A string fingerings can be discarded in favour of creeping up the strings. There is a section that can use an optional mute and this is worth considering.

The difference in tone is exciting and adds character, but wooden mutes can easily move the bridge if not applied correctly – tone is harder to project and more contact than usual is required, with a very parallel bow. Little rubber mutes are often the easiest, but need to be pushed completely back or angled so they don’t rattle when not in use. The final harmonic can also be played in first position for ease. The piano part is not too demanding technically but a light touch will add to the desired transparent texture.

B5 Ten Have Bolero, Op. 11 from Music from the Romantic Era: Recital Pieces for Violin and Piano, Grades 4 to 7 (Bosworth)

This is from a lovely book of recital pieces and will suit any musical player who enjoys playing expressively with a varied and warm tone. It is full of passion and lies comfortably under the fingers.

Although quite extrovert in style, the tone is best projected with a ‘telling’ vibrato to convey the romantic quality. The suggested fingering can be changed without penalty, but relaxed shifting is required. There is a little fourth position but mostly it is in first and third – it has a few chromatic bars and the keys are easy. The accompaniment is straight-forward but a little rubato is possible, especially on the four semiquavers to match the rhythm on the two semiquavers in the violin part (as in bar 8) – they may be contracted to project the dramatic and dance-like elements best. The Bolero has an exciting climax and would be an excellent concert piece.

B6 Seitz Allegro moderato: 1st movement, Concerto No. 5 in D, Op. 22 from Suzuki Violin School, Vol.4 One of my all-time favourite works, this is a terrific concert piece and a great learning tool.

It may be the first time a student has played a musicteachermagazine.co.uk

ABRSM violin notes 2014-15 grades 6.indd 37

concerto and the bright, extrovert character of the music is engaging. It always sounds much more virtuosic than the required technique implies, so everyone is a winner! In D major and first position, this is a good choice for the developing musician who likes to project the character of the music and has a more refined right arm than left. Following 14 bars of piano introduction the violin makes its entrance with resolute bowing on minims and crotchets – it is a robust start, and good to settle nerves by playing right into the string. In these melodic passages, it is worth putting in as much tonal variation as possible: all audiences listen most attentively and make judgments right at the start, so the initial impact is crucial. Working on bow division to keep the shaping will pay off under pressure, especially as tonal variety is usually the first thing to disappear when we are uncomfortable. There are several ‘rit’ bars that do not need to be exaggerated, followed by triplet passages. It is best to get right into the middle of the bow before the triplets start, so tiny bows can be used and keep the music flowing in the same tempo (they often slow down, sadly).

Keeping the crescendo only in the final bar will aid clean and quick string crossings. In general, diligent students often use too much bow under pressure in difficult parts, when economy of movement would give a much better result musically. It is often hard to convince them that by ‘not trying’ so hard, the musical effect will be enhanced. There are several opportunities for this here. Bar 57 is worth noting for the rhythm, as the notes following the slurs can easily be too early. Vibrato is needed for the melodic phrases generally to add polish. From bar 79, it might be worth playing one bar without any shaping to keep the string crossings neat and then one shaped bar up to the middle on the easier scalic passage, then one static bar, one shaped. Four bars later, employ the same effect but with even smaller bows – it is best to keep the same bow weight on both sections so the tone projects and only varies in volume (bow length). Consider adding more dynamics than printed generally, and some black and white ones near the end using a little dramatic license.

C1 Grapelli Flonville

This is a fabulously fun, jazzy piece that doesn’t look too intimidating on the page for the fluent reader. The piano part is easy and the relaxed mood helps convey the flexibility needed for the idiom. In 2/2 time, the pizzicati will need to be marked up a notch dynamically to best project, and playing with the pad of the finger – about 4cm down from the top of the fingerboard is usually a resonant spot. Clean strings and fresh rosin will help the few harmonics ‘ping’ out. Vibrato and audible slides are desirable in this style and do feel free to add a few more than the printed ‘glissandi’. A relaxed MUSICTEACHER

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ABRSM Violin Notes 2014–15 posture would be appropriate to help the rhythms swing convincingly and Grappelli only wrote one mf dynamic at the start, so more need to be added in both parts. The bowing can be changed to suit the student’s natural bow speed and the lifted bows are easier at the heel following up-bows. A firm sense of rhythm is necessary, as although there is scope for manoeuvre, the basic pulse needs to be secure to reliably swing the quavers. Watching Grappelli playing on YouTube can transform the approach and there are several engaging videos available featuring him playing with Menuhin.

playing Flight of the Bumblebee on YouTube – despite the strange lighting effects it is an amazing example of minimalism. Quick shifts to third position and a few 4th finger extensions on the E string are helpful.

In the latter quarter there are chords in thirds that are not difficult and will help develop an excellent left-hand posture, so these are worth practicing separately. Stamina is the main issue, as sustaining momentum for two pages as an unaccompanied solo is a demanding prospect, and requires performance skills to communicate the humour and virtuosic elements.

C2 Head Irish Idyll

C4 Albéniz Tango, No. 2 from Espana, Op.165, arr. Forbes

This beautifully flowing piece is somewhat Deliuslike, as the notes at the bottom of the page helpfully tell us. It is dedicated to the great violin teacher Fred Grinke, and is a slow, melodic version of a jig. It is marked ‘Allegretto espressivo’ and a sweet tone and good phrasing is well rewarded. There are rubato passages, and the violinist will need to lead clearly. Mostly in E major with a minor section in the middle, the shifts are to third and fourth position and work on the two-octave E scales will be useful for clarity, smooth shifting and vibrato. The notes are relatively straightforward as focus is on the musical content. Students tend to love the piece as the melodies are attractive and it is not hard to sight-read. The final two semiquavers in a bar can be tucked in to help more obvious phrasing, and the 12/8 time signature slips easily into 9/8 or 6/8 without any difficulty. There are a few individual bars’ rests where poise can be maintained in performance and the final line has a few high notes (sixth position) but this should not deter anyone as it lies very comfortably. The piano part has some big chords but the harmonies are a joy in this very attractive work.

C3 Trad. American Grey Eagle

Very helpful notes (again) tell us that this fun, unaccompanied piece is in the bluegrass style. It is a huge bonus to have a solo piece at this high level, as it cuts down on rehearsal time and possible expense. Not every teacher plays the piano, and it is rewarding to practise a piece that is complete in itself. More assured students will thrive on the fast pace and it is often played with vigor and relish by teenagers. It is worth listening to other pieces in the idiom to really understand the style required. Dynamics and shaping will need to be added, and a relaxed and very flexible bow arm is a prerequisite. A suggested quick tempo mark can be modified slightly as long as the spirit and energy are maintained. There are some inconvenient string crossings at this unrelenting pace and using tiny bows with a minimal wrist action will give the most reliable result – economy of movement is the key to success. Students may like to watch Menuhin

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ABRSM violin notes 2014-15 grades 6.indd 38

This is a passionate piece and the piano part is accessible. In G major and 2/4 time, the music has a clear dance rhythm that should not be played too fast. The opening pizzicati are forte and are projected with style if memorised, so eyes can watch carefully. It is surprisingly easy to miss the correct strings here (or scratch the instrument) and candidates can lose confidence immediately if not secure. Keeping the left fingers down more strongly than usual, a little vibrato on the top D note and plucking 4cm down from the fingerboard will increase reliability and tone. The final chord of the piece can be plucked in a diagonal direction, away from the body. The arco sections are mostly in first position with a little shifting to third, and the slides between are useful to help convey the idiom.

It would be worth watching a Tango on YouTube to understand the sultry nature of the tone required.

A little vibrato is useful to warm the tone and the rhythms need to be fairly accurate, so clapping two against three might be a good preparation.

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C5 Mollenhauser The Boy Paganini (complete) from Solos for Young Violinists, Vol. 2, arr. Barber

This is a gem, and students love its dramatic quality. It is three pages long and divided into section. For an extrovert character this could be a competition winner, as it sounds much more virtuosic than the technical requirements suggest.

The first page uses broad bows and full tone and is the perfect justification for working on arpeggios and micro scales. It sounds exciting and characterful and leads on to a melodic theme with grace notes on short up-bows. The variation has effective lefthand pizzicato which are optional, but the initial ones are easy and on open strings so these should be included as a minimum. Even if the others are not to be performed, they are a useful way of strengthening the left hand and these should be practised at first. Otherwise, very short bows give a similar effect. The final 6/8 Allegro on the last page needs neat bowing to keep the brisk pace in the string crossings, but then the piece ends with a musicteachermagazine.co.uk

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As it is three pages long, it is useful (and legal) to photocopy the final page and sellotape it in early on in the learning process to avoid page turns, and have the bowings and fingerings clearly marked on the part actually used. This is a fun piece for the extrovert performer.

C6 Trad. Hungarian Verbunk and Friss: Invitation to the Dance from Gypsy Jazz, Intermediate Level, arr. Waterfield and Kraemer

From the well-loved Gypsy Jazz collection that most of us have at home, this is a virtuosic piece that is easily accessible and great fun to learn. At three pages, the opening uses rich tone and is technically straight-forward (it is worth photocopying the final page and taping it in to avoid the quick page turn). During the short introduction

on the piano, planning when to raise the bow and violin while keeping poise will help maintain calm.

It begins in a March tempo played with full bows at mf, so it will settle nerves well. It then proceeds into the ‘lively dance tempo’ where the virtuosic elements emerge. There are lots of mini scales and arpeggios, and using small bows will help keep the pace. Some easy chords, fun off-beat up-bows and swoops to high harmonics all feature but could be modified if any particular element was an issue (for example, the harmonics in bars 92–95 can be played in first position without the slides if required with minimal loss). There are some tricky corners for co-ordination however, and the bowing needs to be consistent and firmly into the string to minimize difficulty, but the piece is fun and bright to practise and students will enjoy it.

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ABRSM violin notes 2014-15 grades 6.indd 39

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ABRSM Violin Notes 2014–15

Grade 7 A1 Bach Adagio: 1st movement, Sonata I G, BWV 1021

This movement has a continuo realization and the violin part has been fingered and bowed by Andrew Manze, a baroque specialist and great musician, who says in the notes that they are ‘for information rather than instruction’. The two short pages look a little black at first sight but we should not be put off as the piece is beautiful, and a good musician with clear phrasing and legato bowing will really enjoy the quality of composition. There are no printed dynamics, so shaping and tonal variation will need to be added throughout. The rhythms are best learnt with precision and then given flexibility so that they sound fluid and semi-improvised.

The danger is that notes following slurs will have unwanted accents with bow changes, so playing them quieter and keeping them part of the overall phrase will avoid the issue. Bow speed needs to be finely considered to keep the phrases flowing and, as always, singing the lines out loud will be the best clue to the shapes. Minimal vibrato in this period is useful to warm the tone on the longer notes and add variety, but should not be insistent, wide or slow.

Mostly in first position, this would be an excellent choice for a musically mature student who is short on time.

A2 Hume A Soldier’s Resolution

This is a fun arrangement by Edward Huws Jones, and a student with an extrovert character will love it. There are seven clearly defined sections, so the piece can be learnt in stages. It is very tuneful and easily fits with the piano part. There are lots of violinistic effects and students will enjoy the pizzicati, harmonics, ricochet and col legno. It is worth preparing any new techniques separately so they are reliable under pressure. For the pizzicato, pluck about 4cm from the top of the fingerboard in a diagonal motion across the strings, away from the bridge. For fantastically clear harmonics, clean strings thoroughly before the performance, use a little fresh rosin the night before, and bow closer to the bridge than usual with very parallel bows.

A relaxed bow-arm and lower right elbow for the ricochet, and using a little of the hair as well as the stick in the col legno, will give tone and pitch as well as the kettle drum effect – the stick can be pointed towards or away from the body depending on comfort. There are some chords in first position that are straight-forward for the left-hand, but flexible right fingers will be helpful to give a warm tone. This is a popular choice for those with a strong sense of projection.

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ABRSM violin notes 2014-15 grades 7.indd 40

A3 Vivaldi Allegro, 1st movement from Concerto in A minor, Op. 3 No. 6 RV 356

This Baroque movement is one of the most popular in every generation with its cheerful and engaging theme and flowing character. Based around first and third position, it has obvious harmonic progression, which can sound energetic and exciting if phrases are clearly shaped. Carefully edited by Richard Jones, there are helpful suggested terraced dynamics. Tutti passages should be played and, as usual, slurs can be altered as long as the musical integrity of the music is convincing and stylistic. There are quick semiquaver passages that need good left-hand dexterity and a relaxed posture.

Bow control is mostly focused in the top half and quick string crossings will benefit from clear arm level changes in both arms. Making a game out of the speed of rotation will be a fun way to introduce this piece!

A4 Biber Aria and Variations: final movement from Sonata No. 5 in E minor

Although not a very well-known piece, this is absolutely wonderful and students really enjoy playing it. It has the huge advantage of being short – just one page long – and even though it gets progressively blacker as we move down the page, the harmonies are familiar and it lies comfortably under the fingers. Mostly in first position, the music needs excellent stylistic awareness, so listening to John Holloway, Andrew Manze or the excellent ABRSM recordings of the work will provoke idiomatic thoughts. The Aria is flowing and needs to be highly expressive with carefully controlled bow division and light up-bows so the shapes are evident. Each of the four variations has written out repeated sections that are an opportunity for embellishments, but definitely differing dynamics and phrasing towards the ends to either lead on or come to a conclusion harmonically. The final variation is quick and the smallest amount of bow at the balance point should be used in general, while varying the length to create shape. It would be useful to memorize some of this to best focus on the bowing. It is well worth practising the quick notes with rhythms and on open strings for smooth string crossings. A light bow hold and a good understanding of the period will enable a virtuosic performance. Well worth a look!

A5 Mozart Allegro con spirito: 1st movement from Sonata in G, K. 301

This is a beautiful and sunny movement that flows easily and is full of drama. It is definitely for the student who is demonstrative and has time to work with the piano. Preparation with the ABRSM CD accompaniment will pay dividends, and awareness of both parts is crucial to get those top marks. The opening is melodic, and there are lots of shifts between first and third positions that

musicteachermagazine.co.uk

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GRADE 7 will need to be smooth and mostly inaudible. The heroic elements arrive by bar 8 and then the piano part takes the melody in bar 13, so the violin part will need to merge into the texture while still being present and legato. A flexible right wrist is useful for the arpeggiated passages and fine-tuning is essential, but G major is an easy key at this level and there are very few uncomfortable corners where a quick shift usually solves the problem. There are spiccato notes following long slurs, and the bow will need to be saved near the heel to maintain control and ensemble with the piano (as in bars 22–23).

The articulation can be a personal choice, but is worth considering in bars 37–39. A quaver followed by two semiquavers can be played long or short, but if played short there is an energetic quality that is playful without increasing the overall tempo. The illusion of a quick pace and a ‘two in a bar’ feel will help bring this charming movement to life. Long upper-note trills are appropriate generally (unless the preceding note is the upper note) and they should be melodic – a little vibrato will help warm the tone without being obtrusive.

A6 Telemann Allemanda-Largo: 1st movement from Sonata in D, TWV 41:D1, No. 2 from Telemann Six Sonatas (Schott) or Baroque Violin Pieces, Book 4 (ABRSM)

This is a stately movement that requires good string crossings and shaping. The music is harmonically flowing and the trade-off for the steady tempo is that the bow needs to move seamlessly across two or three strings frequently.

There are few dynamics, so these will need to be added extensively and the paired slurred notes would benefit from articulation to convey an understanding of the idiom. There are a few awkward bars that will need planning – bar 8 has a slur between G-string notes and A-string ones.

Consider playing the bottom notes louder and longer and then lightening the bow on the top ones to give the illusion of a slur. This is preferable to shifting high on the D string each time, which would not be stylistic or retain even tone. Similarly, bar 11 should have deeper tone on the bottom octave to aid balance and keep the music flowing with good forward momentum. There is a good suggested fingering in bars 17 and 18, and although the semitones change between fingers, the patterns are relatively straightforward. The accompaniment is easily accessible and predictable harmonically. This would be an excellent piece to help a student settle in an exam.

B1 Moszkowski Spanishcher Tanz, No. 2 from Spanische Tanze, Op. 12, arr. Scharwenka

A light-hearted and fun piece that is a competition winner if played with charm. Technique needs to be firmly in place and the piece is full of musicteachermagazine.co.uk

ABRSM violin notes 2014-15 grades 7.indd 41

up-bow staccato so well worth preparing the way with exercises to develop this first. As always, the bowings can be altered as long as the integrity of the music and the idiom are realized but well developed bowing technique is integral here. It is two pages long and has a recap, which is written out. There is a strong harmonic base and there are wonderfully lyrical sections within some fifth position passages.

The printed articulation of the dots is open to interpretation as to whether they are on or off the string, but varying them is helpful in creating as much contrast as possible.

B2 Schubert Allegro vivace: 3rd movement from Sonatina in D, Op. 137 No. 1, D. 384

This is another wonderful piece. It is similar to the Mozart, in that it needs excellent intonation and bow control. At four pages long, it is for the experienced performer with stamina but the music is refined and will appeal to a musician with good stylistic awareness. As in all sonatas, the role of the piano is crucial, so rehearsal time will be important.

Technically, it needs delicate spiccato with rounded tone off the string in the lower half of the bow.

Bowings and fingerings can be changed, as always, to get as much freedom and warmth as possible.

The string crossings in 6/8 will be neater if the bow is kept very close to the string, and playing these passages legato, with very flexible right fingers, would be good preparation. A mature or hardworking student would love this as it is a substantial work, and the other movements in the Sonata are also a joy

B3 Tchaikovsky Mélodie, No. 3 from Souvenir d’un lieu cher, Op. 42

A stunningly beautiful melody and full of passion, this piece is two pages long and full of variety. A secure technique is needed as the melodic passages have lots of shifts, which are needed to convey the style, and the bowing has some up-bow staccato and quick spiccato. It is quite robust once learnt and the notes don’t go high – just the final line has an easy soaring to a top G. If a student has a good ear for style and prepares in detail, this would be a lovely choice. It is always a bonus if they can get ‘stuck in’ straight away, and this piece allows that.

Reliable shifting is essential, however, and there are good study books to prepare the way. If shifting smoothly is not a strong feature, it is best to choose a different piece and save this gem for a relaxed performance when that element is secure. Bow division will need to be considered in the second half of the first page to keep the semiquavers even and tight in the lower half. Time can be taken at the ends of phrases to best convey the idiom, and the piano can easily follow if students are musically clear. The up-bow staccato and fingerings can be altered as long as the idiom is conveyed, and three notes can MUSICTEACHER

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ABRSM Violin Notes 2014–15 be offered in as up-bow instead of the printed seven for concerned students.

B4 Kreisler Schön Rosmarin

This famous tune is a joy and full of playfulness and charm. The rubato quality needs secure righthand technique and the degree used will benefit from careful rehearsal. It would be worth listening to Kreisler playing this piece himself online to get a clear image of what is possible – like all great artists, his performance is highly engaging and apparently effortless. His bowing is lightly on-the-string for the many up-bow staccato phrases, and the rhythm is spread at the beginning and contracted at the ends to give it musical direction and shape (and to save the performer’s arms from becoming locked!). Work on an open string to develop the technique will be rewarded –perhaps translate that to a scale with rhythms, then to the ‘correct’ open strings,before finally adding the written left-hand fingers. Lifting the bow after the final note and adding vibrato will give a sparkle that projects. The trade-off for the bowing technique is that the left-hand notes are relatively easy: G major with some chromatics, and often in first position. The opening is repeated several times and the middle section is more relaxed with a few shifts to third, second, then first positions. Using full bows on the longer notes will give impetus to the phrases and give the performer’s forearms a much needed stretching. It is worth playing the ‘loose’ quavers in the second, fourth and sixth bars with tiny bows to keep the phrases flowing along. This piece is well worth considering.

B5 Massenet Méditation, from Thaïs, arr.

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This is a beautiful and classic piece, which is always a favourite on the syllabus. Technically, the soaring melodies lie comfortably, and the music is enchanting. It has a relatively easy piano accompaniment and the arpeggiated chords help the phrases to flow forwards. This would be an excellent choice for a musical violinist with a warm and singing tone and good vibrato. The shifts are straightforward and even though it does go high occasionally, it lies well and is often between third and fifth positions. Feel free to change bowings to help the dynamic shaping, add more bow for the ‘rit’ bars, and avoid any unnecessary bulges.

The point of contact is important and it is useful to vary that along with vibrato width and speed – bow closer to the bridge for the more passionate, projected phrases, with a more tilted bow over the fingerboard for the gentler ones. Keep the vibrato lively, even on 4th fingers, to maintain the line.

There are many recordings of this piece, including one on YouTube of Janine Jansen playing it with the orchestral accompaniment, which would be a joy in any school concert programme.

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ABRSM violin notes 2014-15 grades 7.indd 42

B6 Schumann Lebhaft, leicht, No. 2 from Fantasiestücke, Op. 73

It is a treat to have such a substantial piece on the syllabus, and this would be a great choice for those who loved the first movement at Grade 6.

The third movement is on for Grade 8. It is worth noting that the repeats are required in the exam as they are integral to the structure of the music. This idiom is all about expression and tone colour, so preparation of the swelling phrases with bow and vibrato control will be useful. There are some shifts right at the start so it is important to be ready to launch into the music while the piano gives the two bars introduction. The second phrase has identical notes but a different feel and therefore fingering, so memorizing these passages will give confidence and a positive start. It then settles into technically easier sections, and long fingers would help avoid some of the shifts! It is a passionate and moving movement and definitely worth considering performing all three movements together once mastered at the next level.

C1 Bartok Bagpipers, 1st movement from Sonatina, trans. Gertler

A great showpiece and competition winner. This looks a little scary on the page, with triple-stopping and one very high note on the second page, but looks are deceiving as open strings solve the triplestopping issue and a first position harmonic can be used instead of going into the stratosphere. The bagpipe theme is played with lots of open strings and the rhythms are straightforward. A few fifth positions notes are needed and add a lovely colour.

It is an energetic piece, mostly in 2/4 with a few easy time changes later, and varies between Allegretto and Allegro. Some right-hand flexibility will be useful to catch the open strings in the quick threepart chords, especially on the up-bow ones, and there are very few dynamic markings, so more will need to be added. Extrovert students love playing it as they get a quick return for their efforts, and candidates generally seem to play it with relish and commitment.

C2 Korngold Mummenschanz (Masquerade), from Much Ado About Nothing, Op. 11

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Korngold became a film composer and wrote this piece for Shakespeare’s play in 1919. This is the last movement and ‘is in the English dance rhythm of the hornpipe’, as the notes helpfully tell us. It is a lively and fun piece that, once known, is reliable under pressure. It would be a good choice for the more anxious student, as they can get stuck in straight away in a loud dynamic, which is always comforting.

There are lots of notes, but the shifts are in blocks and are not difficult for this level. Taking time musically at this quick speed is the challenge, but there are clear directions. Economy of movement will be a priority and the high passages will need to

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C3 Morley Reverie

This is a lyrical piece and a gift for students who love playing expressively. With good legato bowing and consistent vibrato, the music is immediately engaging. Morley’s career in film composition is apparent in the accessibility of the harmonies and the flowing quality of the melodies. The piano accompaniment is not difficult and sets the scene well for a comforting two-bar introduction. The bowings can be changed to either remove unwanted bumps in the phrases or keep the bow speed more regular. For example, the start can be played with three beats in one down-bow, then the crotchet on an up – this gets the phrase moving along well and gives space and emphasis for the height of the phrase. Any changes are acceptable as long as the integrity of the music is maintained, and if a student is more comfortable with the bowing, they tend to be more committed in performance. If a bowing that they struggle with is insisted upon, even if they get it right in the end, it never feels quite natural musically. This piece is a good example of adapting bowings and fingerings to suit the individual’s needs. There are some high sections and a few double-stops that will need sorting out initially, but they lie very well under the hand and are usually not a concern. The final note sweeps up to a C, and keeping good posture and a parallel bow beforehand while taking small breaths will ensure calm success. A trick is to practise playing the top notes a tone higher until comfortable with angles – the slow shift will then make the correct note seem easy.

C4 Grainger, arr. Kreisler Molly on the Shore (Schott)

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This is an arrangement of two Cork reels, and the Presto instruction is the most important feature to remember. A light bow-stroke is essential and, at four pages long, stamina and a relaxed technique is crucial to keep momentum. It is playful and attractive and for most of the piece the left-hand technique is not challenging. There are some easy double-stops on page three and a high section towards the end, but they all lie fairly comfortably for this level. The main challenge is to keep the bowing neat and close to the string, so the speed can be maintained while shaping the ends of the phrases. It can be played on the string but is best slightly off, so the direction of the bow can be disguised without disturbing the articulation.

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ABRSM violin notes 2014-15 grades 7.indd 43

Generally, the long quaver passages are easiest if started on a down-bow, but this does necessitate some deft extra up-bows (for example, in the fourth full bar). In bar 6, it is worth considering bowing out the second beat, so there is not a time lag to recover the semiquavers on an extra down-bow. Taking the opportunity to relax muscles on the pizzicati or on the crotchets is definitely worth doing to avoid the performer’s arms seizing up!

C5 Hindemith Ruhig bewegt: 1st movement from Sonata in E

This is an excellent choice for a student with an interest in unusual harmonies. Some teenagers become obsessed with Hindemith as his music can be dark and passionate, and provides a way of expressing emotions in a slightly less conventional manner. This movement balances the interest in tonality and colours with relatively easy technique for the level. It is well worth a listen and, although just one and a half pages long, there is a page turn, so the second page can be legally photocopied and taped to the first. In 9/8 time, it requires smooth shifting and good legato changes of bows. There are a few double-stops but mostly it is single line reaching the E above the open string, although there are opportunities to play higher on the A string which will be appreciated. The tonal palette is crucial, so working with the piano on balance will be useful and the parts fit rhythmically together quite easily. Semitones need to be very close in this one, especially the leading notes. A tip for developing expression is to play it without any vibrato first until all the shaping is considered, and then add vibrato only as colour. The emphasis on the right hand will give a much more stylistic result. For the melodic and expressive player, this will be a dream!

C6 Musgrave The Egrets have Landed, from Spectrum for Violin: 16 Contemporary Pieces (ABRSM)

This is an evocative contemporary piece by one of the most exciting and well-respected composers of our day. Musgrave studied with Nadia Boulanger in Paris and the interest in context and tonal colours is apparent. The notes tell us that the music represents egrets landing on sunlit banks in a whirl of white plumage on a peaceful lagoon beside Los Angeles airport. Putting this piece in context is very useful when thinking about projecting the mood. From the Spectrum for Violin book, which is also represented at Grade 5 (Hugh Wood’s Bagatelle), the book has earned its place on our shelves as a standard.

This choice is for the experienced performer as the opening high G and sustained notes need to sing freely, and the dynamic level is generally quiet. The piano part is very straightforward though, which can be a big plus. Good bow control (mostly tilted over the fingerboard), small breaths and an upright and MUSICTEACHER

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ABRSM Violin Notes 2014–15 relaxed posture will be essential to keep the tone sweet. The music opens up to some double-stops and a little ricochet, so the original tempo needs to be considered so these flow easily (ricochet could potentially be played separately if enough shaping were added). It is worth penciling in the fingering in the last three lines as some double-stops are easier in third position and, despite the p p dynamic at the very end, playing it in first position will guarantee good tuning. At only one page long, this would be an excellent choice for a musically mature student who may be a little short on time and wants something a bit different for an interesting programme.

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musicteachermagazine.co.uk

14/02/2014 09:40:42

mu

Rhinegold Publishing

digital guides

4 14:09:16

Scholarship auditions: preparing to pass When it comes to the scholarships process, potential scholars and their parents must first understand that scholarships are not bursaries or remissions for those who cannot afford fees – top independent schools have other means-tested schemes for this. Instead, they represent an investment made by the school which they expect the student and their family to take seriously. Therefore, when it comes to an audition, it is important to remember what directors of music will be assessing. They will be looking for glimpses of what a young musician may be in five or seven years’ time – as one of the senior musicians at the school Talent

Of course, the sine qua non of gaining a music scholarship is demonstrable musical talent. While Alleyn’s School in south London, for example, is explicit that it gives awards only to students with ‘exceptional musical ability’, it is common sense that with high demand for scholarships will come fierce competition and high standards. Independent schools may be registered as charities but they are run as businesses, and scholarships fit snugly into their business plan. Music scholars are expected to contribute significantly to a school’s musical life, raising the quality of ensembles, performing at concerts and acting as role models for other music students because improving a school’s general musical output is a means of attracting more full-fee paying families.

‘The school offers music and choral scholarships to encourage musical boys to develop their talents for their own fulfilment and to enrich the school’s musical and corporate life.’

Iain Donald, director of music at Hampton School At Chetham’s School of Music (which, through the government’s Music and Dance Scheme, provides up to 100% fee remission for students whose exceptional talent alone is enough to earn them a place), director of music Stephen Threlfall says that what he looks for in potential scholars is, ‘a natural engagement with the music they present and, allied to this, a sense of sound quality, musical line and being able to demonstrate musical potential’.

Musical understanding

According to Tim Kermode, director of music at Alleyn’s, ‘as well as accuracy and technical proficiency, what makes a strong candidate stand out from the crowd is a performance with a real sense of musical shape and contrast – and with an understanding of the music.’ Alleyn’s holds its end-of-year concert at St John’s Smith Square, a major London performance venue, and each year at least one sixth form student will give a concerto performance. No director of music will expect an 11 or 13 year old to play a concerto movement at their scholarship audition, but they will be looking for certain performance skills which would accompany a performance at such a venue. So, when choosing repertoire for an audition, avoid all but the most polished pieces. Always think of going for a less technically demanding piece which can be confidently and musically performed.

Thinking of a scholarship as an investment, one realises that schools will be looking for a young musician who has the personal skills to realise their talent. So young musicians should go into a scholarship audition knowing that they are not being tested solely on how well they sing or play their instrument, but also on their enthusiasm for that music. Just as schools look for innate musical understanding rather than simple technical ability, they will select on the basis of the potential of musicians to throw themselves into musical life. Eton College aims to give its students ‘all the musical benefits that a specialist music school would’ and according to former director of music Ralph Allwood, ‘the characteristic we most look for in a potential music scholar is motivation. And personal motivation, not coming from parents.’

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10 PARENT GUIDE TO MUSIC EDUCATION 2013–14

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ABRSM Violin Notes 2014–15

Grade 8 A1 Bach Allegro assai: 3rd movement from Concerto in E, BWV 1042 (Peters or Henle)

This well-known work will delight any audience with its gorgeous melodies and bright character.

There are many recordings of the concerto and it would be a good investment to listen to a variety. As always, style is important but playing musically with conviction is a crucial element. In E major, tuning needs to be clear and there is a danger of going sharp in the extended string-crossing passages.

The movement is not short, so stamina and relaxed posture are paramount. In this period, articulation needs little gaps at the ends of slurs while retaining the overall melodic lines – this may be a new skill at this tempo, so it is worth some focus to get just the right amount. There are some awkward passages and developing smooth string-crossings with good fingerings will need consideration, but it a glorious piece and well worth the effort. Ideal for a diligent student.

A2 Bach Allemanda or Gigue: 1st or 4th movement from Partita No. 2 in D minor for Solo Violin, BWV 1004 (Bärenreiter).

These glorious movements will become part of any musician’s life so it is worth investing in the full book of Sonatas and Partitas if at all possible. They are unaccompanied so perhaps not for the nervous performer, but practising a complete performance without waiting for the piano can be a relief for some and may minimize expense. Solo performances require experience on stage so it would be worth playing this in other concerts first to gain confidence before the exam day. Both movements rely on good idiomatic awareness and listening to Maxim Vengerov on YouTube will give a current insight into style. Playing in resonant and then dry acoustics is strangely useful as awareness increases at every stage. I remember practising these in the dark late at night to really focus!

The tempi should be carefully chosen so the character can be projected with clarity and confidence. Extensive dynamic shading and shaping will need to be added to express the melodic lines, overall architecture and variety. No repeats are needed in the exam. The Allemanda is slower, grand in style, and relies on deep tone – it is probably the easiest choice technically but most demanding musically. The Allegro needs lighter bows and nimble hands for some quick string crossings.

Playing with rhythms will help give evenness and varying the bow length will develop shape while keeping core tone.

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A3 Beethoven Rondo – Allegro ma non troppo, 4th movement from Sonata in F, Op. 24 (‘Spring’), No. 5 from Beethoven Sonatas for Piano and Violin, Vol. 1 (Henle).

This is a masterpiece and should be in every violinist’s cupboard! Full of tenderness and lyricism, it requires a reliable technique in both hands and a mature musical approach. Working with the piano in advance will be a joy if time can be allocated, and there are many wonderful recordings, including one with Kremer and Argerich that is available on YouTube. The violin part weaves in and out of the piano lines and awareness of this and the balance will be crucial in a polished performance.

Rehearsing in the exam room would be useful but, if not possible, time is allowed to quickly test the balance at the start of the exam. Keeping fingerings in ‘block positions’ usually gets the best result, as focus should be on the bow and projecting the shaped phrases. A little vibrato to warm the singing tone is lovely, but be aware not to let it get too wide or insistent. The accompanying phrases need to be audible but more as part of the texture, and playing with smaller bows nearer to the bridge might convey just the right colour. This is a glorious piece and despite a few quick passages that lie fairly comfortably at this level, it is a work well worth the effort.

A4 Haydn Finale-Presto, 3rd movement from Concerto in C, Hob. VII/1 (Peters).

The Joshua Bell clip on YouTube makes this concerto appear effortless, but don’t be deceived!

Great violinists make playing look easy but underneath is highly developed technique coupled with finely considered musicianship and experience.

The movement is sunny in nature and the phrasing is clear, so it is an attractive choice. The suggested tempo on the ABRSM CD is steady and more realistic for Grade 8, but this piece is for the diligent student. There are very quick string crossings that can be partly alleviated by staying in position and stretching (if fingers are long enough) and occasional harmonics can also help and need not be a stylistic concern. Intonation needs to be secure while the bow plays the passage-work firmly in the middle with a good spiccato – it is best to keep the bow as close as possible to the string while keeping the point of contact consistent to avoid splashes. It will require stamina, relaxed posture, bowing parallel with the bridge for focused tone, and some taped photocopies to avoid page turns.

There are some awkward corners, but with time to prepare in detail and project the character, this would be an impressive piece to play – perhaps with a school or local orchestra.

musicteachermagazine.co.uk

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GRADE 8 A5 Mozart Molto allegro: 1st movement from Sonata in A, K. 526. No. 15 from Mozart Sonatas for Piano and Violin Vol. 3 (Henle) or Mozart Complete Works for Piano and Violin, Vol. 2 (Bärenreiter)

Sonatas are an integral part of our repertoire, and a collection by Mozart would make an ideal gift for an A-level student. Llike the Beethoven, unaccompanied Bach, and possibly less-welcome Kreutzer studies, these works are for life and their integrity is apparent. When preparing, a student will need to rehearse giving a lead at the opening of this sonata as the piano is in unison. Keeping the bow close to the string will give just the right tone in the semiquavers, and playing the passages on the string initially and then just slightly off, close to the bridge and with clear crescendi, will add sparkle. The legato passages can have more freedom, but bow division is worth careful consideration to minimise excessive movement (avoid bulges) and keep the phrases shaped and flowing. The music is often in first position, with some third and a little fifth towards the end. The texture and balance will need to be considered and dynamics and shaping will need to be added to the music generally. There is no one correct way to phrase this piece, but not adding any will be detrimental – listening to the harmonies will give ideas. Bow control at the start and end of the phrases will add polish.

A6 Neruda Allegro moderato: 1st movement from Sonata in A minor, No. 3 from Bohemian Violin Sonatas, Vol. 1 (Henle)

This charming movement looks straightforward and its obvious structure helps the phrase shapes, but it does require well-developed technique in both hands. The 3rds are a good justification for working on exercises properly in the ‘scales’ section of the exam and they help build good left-hand shape, but they will need preparation before the piece is started. The style is worth researching and YouTube can be invaluable for good (and less good) examples. The ABRSM CD demonstrates excellent stylistic awareness. It is useful to omit the ornaments and double-stops initially to get the outline of the phrases, and then ‘smuggle’ in the details at a later stage. Lightness of bowing is essential and it is worth experimenting holding the bow further up the stick to give the right effect.

Bowings can always be altered, and it can usually help to hook some second beats together (in bar 1, for example) to keep the music flowing. Whether the dotted quavers are hooked into the semiquavers or not is personal, but the effect on momentum and tone should be the same. Dotted quavers should be shortened and not sustained. Dynamics and obvious shaping will need to be added throughout. Trills may be turned into mordents at this tempo, and adding quick attacks and diminuendos with the bow musicteachermagazine.co.uk

ABRSM violin notes 2014-15 grades 8.indd 47

on the ornaments will help give style and energy.

Appoggiaturas are usually on the beat, but playing with the piano will confirm each example depending on the harmonies. The triplet passages need a good fingering and are not altogether comfortable with little shifts or stretches in quick succession. With a diligent student who has neat bowing, good co-ordination and a nimble left-hand, this piece will be rewarding and engaging.

A7 Vivaldi Danza pastorale, 3rd movement from Concerto in E, ‘La Primavera’ (Spring), Op. 8 No. 1, RV 269. Vivaldi: The Four Seasons (Bärenreiter or published separately, Peters)

This is one of the most famous pieces in the world following Nigel Kennedy’s personalized versions of 25 years ago and again at the 2013 Proms. There is always a perception that familiar pieces are easy, but this is not the case, although this is a lovely choice and students and parents will enjoy it. The tutti sections need to be played too, and this gives confidence at the start. A student with warm tone, nimble bowing and good intonation will love this.

I am highly prescriptive about bow division in the theme to really start things off well. For example, bar 1: down-bow from the middle, two notes with tiny bows at the tip, 3/4 up with a lift, bottom ¼ up, whole bow down, ½ bow to the middle.

Once this initial shape is truly mastered it recurs many times, and the process will have refined any thoughts about tone and the Baroque lightness required. An assignment on Baroque bow shapes might be appropriate. There are two tricky lines for double-stops where it can be helpful to separate the slurs initially, but they do develop a good lefthand shape and the passage is no harder than in the scale requirements. Playing each chord ff for one whole minute develops muscle memory effectively.

The tonal contrasts can be stark and adding extra ornaments or little ‘runs’ on the echoed phrases shows stylistic awareness.

B1 Brahms Andante tranquillo, 2nd movement from Sonata in A, Op. 100 (Wiener Urtext)

Brahms himself played the piano at the premier of this sonata, which is the most lyrical of his three – formally titled Sonata for Piano and Violin, giving the keyboard due credit. An expressive pianist is needed to keep the balance in check as several violin passages are in the same register, low on the D string. The movement is glorious, and for the lyrical violinist with a singing and legato tone this will be a joy. Although the first section looks fast, it is a clear tranquillo and the bowing can be played with slow speed to create the long lines. Good vibrato is essential to keep the legato quality. The piece alternates between Andante and Vivace sections, and the latter should be played quite firmly but not MUSICTEACHER

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ABRSM Violin Notes 2014–15 rushed. Fingerings need to be considered carefully: notes under the slurs would ideally be on one string to help the phrase colours, and this necessitates quick but small shifts. Some back extensions might be useful for fingerings to avoid consecutive shifts.

Contrasts can be gained while allowing the piano to have space. In the pizzicato section, firm left-hand finger pressure, plucking 4 cm down the fingerboard in an upward movement with some vibrato, will help release the best tone. Constant shaping is needed, and playing sections without vibrato will highlight the bow control – vibrato should not mask the tone, but varying the width and speed of it will come naturally in the more intense passages. The music goes up to a top A note, and good posture with the bow held closer to the bridge and kept very parallel will support the sound. This is a great choice for a passionate player, and the performance will be robust under pressure once mastered.

B2 Bruch No.s 5,6 and 7, from Schwedische Tänze, Op. 63, Vol. 1 (Simrock)

lyrical tone, sustained bow control in the upper half and a singing vibrato. Change bowing if the phrasing is proving challenging, especially at the ends of phrases. There are some high phrases where tone is important and the shaping cannot be exaggerated enough. A few romantic slides add to the idiomatic feel, and the more moving middle section is passionate with quick shifts and possibly extensions depending on hand shape. Intonation can be tricky in the moving bars, so keeping the violin steady is important to avoid having a moving target. The high G string moment requires the left elbow to be rotated firmly round in advance or tone will suffer – an obliging pianist can support tonally here. There are some double-stops that look tricky but are fine once known, and in the octaves playing the lower note much louder than the top will create better balance (and possibly the illusion of perfect intonation!). The cadenza is an opportunity for a greater range of expression, and the quick runs will be most dramatic if the shaping is exaggerated. The final section needs to wind down. It is worth alter the bowing in the last flourish so the fingering is in blocks (up and down from sixth position on the A string), shifts are hidden with the bow changes, and the last three notes are all on one down-bow (so there isn’t too much to use up) before finishing near the point, tilted and over the fingerboard. Wait for the sound to clear in the acoustic and then relax.

Success!

These three dances make a lovely collection and can happily be performed as one unit in a concert.

The first begins with solo violin for two bars, where the tempo and articulation are crucial. A little tenuto note in the lower half – slightly separated from the next two up-bows to get back to the heel while keeping the tone warm and focused – will make a good start. There are clear dynamic and tempo markings to negotiate and good fingerings are essential, especially in the high semiquaver passage where the bow is best kept very close to the string. No. 6 is lyrical and the swells are marked – it is always worth playing these without vibrato initially and then adding it later for best effect.

Shifting on the bow changes keeps the legato quality more easily, and some passages can be played high on a lower string to bring added colour. Supporting the violin more with the jaw and breathing gently will help sustain the final high note under pressure.

The final dance is charming and looks the simplest technically, but the theme needs consideration for tone quality. If played in third position with a string crossing for the isolated C, the legato will suffer unless the instrument is very good indeed.

Shifting up and down will keep the line better but the movements need to be inaudible, so doing it in conjunction with the slurs might be the best option. Starting up-bow will get the lifted quality from the first note. There is one short, but awkward, broken octave phrase and fingering will depend on hand size.

This looks harder than it is, and the beautiful melodies are engaging. The notes lie very well under the fingers, and keeping the bow close to the string on the triplet passages with a brushed stroke will solve any issues there. An open and free tone is needed at the start and, with adrenalin rushes, the danger is to start too fast. It is worth checking the ABRSM CD or the downloads section on the ABRSM website, as the numbering and key of this piece have caused confusion on some sites.

The ‘vivo’ middle section gives the opportunity for dramatic contrasts and lifting the up-bows slightly (as in bars 5 and 7) will add panache and help convey the ‘performance’ element. Balance will, as always, need to be considered but moving the point of contact to closer to the bridge on the lower strings sections should help the violin cut through the texture. The movement can sound virtuosic and, with good co-ordination between hands, this will be a winner!

B3 Dancla Resignation, Op. 59 from Singing Violin, Book 3, arr. Dolez˙al (PWM 8575)

B5 Janácˇek Dumka from Janácˇek Works for Violin and Piano (Bärenreiter)

There is a lovely piano introduction where breathing and poise will set the scene well. The beautiful melody on the violin depends on a

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B4 Grieg Allegretto quasi andantino, 2nd movement from Sonata in F, Op.8 (Peters)

Dark and passionate tone will help convey the character of this piece, and the lyrical quality is engaging. The piano part is not too challenging musicteachermagazine.co.uk

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GRADE 8 and mostly fits obviously with the violin line, so rehearsal time can be spent on tonal colours. This piece depends on using a variety of vibrato speeds and widths that should come automatically to some extent, but it would be worth exaggerating them to best project the intensity in the music. There is an octave section that will strengthen fingers – keeping the bow very close to the bridge, but firmer on the bottom string than the top, will help overall balance and intonation. Some chromatic sections will need to be carefully fingered to keep tuning reliable and semitones very close. Playing passages high on the G and D strings will add to the tonal palette and, as it would be easy for this piece to meander, the phrases need to be driven forward to maintain structure.

This would be an excellent choice for a student with a strong musical sense who can project controlled passion and turmoil.

B6 Schumann Rasch und mit Feuer, No. 3 from Fantasiestücke, Op. 73 (Henle or Peters)

This is the third movement and, if a player has enjoyed the previous movements in Grades 6 and 7, then it would be ideal to have the complete sonata in their repertoire. Repeats do need to be played, as they are integral to the structure of the music.

This is a highly extrovert movement where passion meets nimble technique, and it is dramatic and engaging. The movement can start up- or downbow, depending on string crossing ability. The up-bow option is harder but gives more impetus and urgency. Quick semiquaver passages and sustained lyrical lines are interchanged and the emphasis is on bow contact and exaggerating crescendo – starting with firm pressure, restrained length and quieter than marked, will allow the swells to start later and add drama. Balancing with the piano is important, and a wide and expressive vibrato while playing closer to the bridge will help project and cut through the texture in the busier moments. It is worth listening to the original clarinet version so the breath marks are noted and shapes retained. The melodies are wonderful – a musical performer will love the movement.

B7 Schumann Allegretto, 2nd movement, Sonata in A minor, Op. 105 from Schumann Sonatas for Piano and Violin, Op. 105 and 121 (Peters) or Schumann Sonatas for Violin and Piano (Wiener Urtext) This is an intermezzo, in the form of a rondo with two episodes, which is immediately accessible.

Schumann was guided by subjective reflection and intense introspection, and you can hear both elements in this movement as his torment and warmth are interspersed. There are long passages where good phrasing with a dense, warm tone is all that is required for the music to sing, and these are intermingled with quicker passages. The musicteachermagazine.co.uk

ABRSM violin notes 2014-15 grades 8.indd 49

bowing technique on the quick semiquavers (two slurred, two separate) needs to be refined to keep the passages shaped and flowing. Keeping the bow very close to the string, but just off, in the quieter phrases is useful, while the bow should be on the string in the top half for the louder ones. Some second position is helpful, and a warm vibrato and ability to lead the many musical corners essential, but then ensemble is straightforward. Slow bow control must be employed and a serious legato is needed – no unwanted bulges will suffice!

Soft chords on the piano and gentle pizzicatos on the violin grace the end of the movement. A keen awareness of balance and momentum will contribute to a highly polished performance.

C1 Alwyn Allegro e grazioso, 1st movement from Sonatina (Stainer & Bell)

This is a beautiful piece, and the piano part is quite straightforward. The music flows naturally, and the soaring melodies are attractive. For a student with a warm tone who can shift smoothly and reliably, this would be a lovely choice. Bowings can be changed to clarify the phrasing, and a good E string would be worth the investment as tone at the top is important here. When the notes are high, keeping the bow proportionally closer and parallel to the bridge is essential. There is a syncopated section, some pizzicato, a few double-stops (which are easy once learnt) and a quick semiquaver phrase that looks scary, but actually lies well. All need to be projected with authority. The tempo is crucial to keep the music flowing ,while shifting must be melodic and unhurried. The final note is long and the bowing can be organized so that more than one bow is used (change with the piano to disguise it) to end on a down and retain poise.

C2 Debussy Allegro vivo, 1st movement from Sonata (Henle or Durand)

This is a true masterpiece, and an imaginative musician with a strong technique will love it – it has a wonderful range of melancholic and passionate emotions. The piano part is integral, so rehearsal time will need to be factored in early on in the learning process to discuss balancing and clarify the rhythms – they are not always immediately obvious, but need to flow effortlessly. It is wonderfully lyrical and the possible tonal colours are endless, but a secure technique is needed to do the music justice.

There are quick passages where flexible right fingers are required, and harmonics where fresh rosin, clean strings and parallel bows help. It is just over four minutes long and absolutely worth the effort to learn. Debussy played the piano at its premier and it was his last public performance before he died in 1918.

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ABRSM Violin Notes 2014–15 C3 Hindemith Langsam-Sehr lebhaft, 2nd movement from Sonata in E (Schott)

For students who played the first movement of the same sonata for Grade 7, this would be an excellent choice. The slightly easier technical demands are balanced with the need for lyrical shaping and an interest in tonal colours and lessfamiliar harmonies. Fine-tuning of close semitones, smooth shifting and refined tone are all essential to convey the idiom. There are moving 6/8 passages but, with a good fingering and keeping the bow close to the string (especially in the separately bowed bars), the lines can be maintained. A reasonably good violin would be useful as there are high melodic E string notes to project with warmth.

This is a passionate piece and, once familiar with the piano part, the performer will enjoy the rhapsodic nature, interesting harmonies and shading.

C4 Kodály Adagio (Editio Musica Budapest)

The opening instruction ‘molto legato’ says it all!

For an experienced performer, this will be a joy – it is a lyrical piece that depends on excellent bow control and a warm tone. It is essentially slow with some quick rhythmic sections that lie very comfortably under the hand. Melodic shifting up the G string and narrowing the string crossings to refine the legato element will be useful. A few cross-rhythms with the piano are worth preparing carefully, but keeping the phrases in big beats usually solves the mystery. The piano part is very accessible, with just a few repeated chords that look scary but are fine with a good fingering. There are opportunities for a little virtuosity and rubato, but shading and tonal variety is paramount. The high E string notes will benefit from keeping the bow closer to the bridge and very parallel with a narrow vibrato. This is a lovely choice for a good musician.

C5 Kreutzer Étude No. 30 in Bb major, from 42 Études ou Caprices (Peters)

It’s great to see the Grade 8 level at Kreutzer standard, and most of us have these unaccompanied studies in our library already. For ambitious students (or parents) this study can be used as a benchmark of ability to even consider the exam. This particular study is three pages long, so stamina is important. If fingers are long, there are useful extensions to avoid extra shifts in the repeated theme. There are a few tricky bars where the bow arpeggiates over all four strings, and the right wrist needs to be flexible to clearly articulate the semiquavers in the top half of the bow, but this is primarily a left-hand study. There are several modulations and dynamics, and shaping will need to be extensively added for tonal variety. Keeping an eye on intonation and tension is important, but it is melodic and flows well.

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C6 Sibelius No. 4, from Danses champétres, Op. 106 (Hansen)

This Dance is at a Minuetto tempo and allows for the virtuosic character of an extrovert player to be fully explored. Although it has some tricky corners, much of the piece is melodic and robust. It begins with drama and pizzicato across all four strings – the first can be placed before the smile to the pianist to begin, and the second one is easy. Confident and strong tone will propel the listener onwards as the music flows easily. There are moments where the flourishes are very quick and having a good left-arm angle early and strong bow contact will help. Long fingers or a big stretch are needed for bar 27: then the finger pattern can remain the same for all three groups while shifting the whole hand upwards.

There are some high E string moments that require firm and singing tone, a few easy double-stops and up-bow staccatos which are quite quick – it is best to use minimal bow length right at the balance point to keep these under control.

C7 Williams Remembrances from Three Pieces from Schindler’s List (MCA).

There is a wonderful YouTube clip of Gil and Orli Shaham performing this piece. It is an education in playing expressively with economy of movement.

The variety of tone is simply gorgeous, and the sentiment behind the piece is always evident. It is good to see that straightforward fingerings (in first position) can result in sustaining the musical line so effectively when the musical integrity is clear.

My students have been impressed that the music stand is low, removing the need to over-lead on the musical corners.

The printed cadenza should be observed here and the dark, rich tone needs to be very legato.

Sustaining the lines with bow changes and vibrato is the biggest challenge, but the music is highly engaging and will appeal to passionate musicians.

Its attractive harmonies are easily accessed and therefore tuning is straightforward. Bow speed and division will need consideration to help the shaping of the phrases and add variety.

musicteachermagazine.co.uk

14/02/2014 09:48:07

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